UC-NRLF 


-c:&Mi.^^ 


\. 


PLAYS   OF   OLD   JAPAN 


PLAYS  OF  OLD  JAPAN 


TRANSLATED  BY 

LEO  DURAN 


^ 


NEW   YORK 

THOMAS   SELTZER 
1921 


Copyright,  1921,  by 
THOMAS  SELTZER,  INC. 


All  rights  reserved,  including  translation  and  stage 
production. 


Printed  in  the  United  States  of  America, 


CONTENTS 

Page 
TheDaimyo 3 

The  Honor  of  Danzo 81 

The  Horns .55 

The  Hands  IN  THE  Box 79 

Forsaken  Love  (A  Poetical  Comedy)    97 


4662L0 


INTRODUCTION 

Japanese  actors  are  masters  of  absolute 
realism.  The  traditional  art  of  their  country 
requires  a  perfection  of  detailed  mimicry  that 
is  not  called  for  by  the  more  impressionistic 
art  of  the  Occident.  Performances  in  Japan 
last  eight  hours,  and  incidents  are  allowed  the 
time  they  would  take  in  real  life,  so  that  every 
little  act  or  expression  connected  with  the 
incident  is  recorded  by  the  actor.  The  death 
agony,  for  instance,  lasts  on  the  stage  through 
all  the  throes  and  all  the  minutes  or  hours 
that  it  may  take  in  reality. 

A  stranger  from  a  western  country  might 
at  first  find  the  performance  of  a  Japanese 
play  exaggerated  and  tedious.  After  re- 
peated visits,  however,  he  would  develop  a 
deep  interest  in  the  emotional  representations 
of  the  actors  and  find  that  the  stage  world 
was  simply  another  world  of  nature,  with  all 
the  fascination  and  thrill  of  life  as  it  really  is. 

The  old  classic  dramas  of  Japan  and  most 
of  the  modem  dramas,  therefore,  although 
rich  in  poetic  beauty,  are  too  long  and  com- 
plicated to  be  literally  translated.       The 

[vii] 


INTRODUCTION 

English-reading  world  has  become  acquainted 
with  them,  more  or  less,  through  translations 
of  celebrated  scenes  by  several  Japanese  and 
English  scholars.  The  most  complete  trans- 
lations in  English  known  to  me  are  of  "The 
Cherry  Tree  of  Suma"  by  Yoshida  and  "The 
Forty-seven  Ronines"  by  Anselme.  They 
have  been  rendered  into  French  in  a  rather 
fanciful  way.  Several  short  plays,  includ- 
ing the  famous  "Terakoya,"  have  been  faith- 
fully translated  into  French  and  German. 
And  the  "No,"  a  sort  of  religious  dance  on 
legendary  subjects  performed  by  village 
actors  or  monks  at  certain  festivals,  have  been 
made  familiar  to  the  English-speaking  world 
by  Lafcadio  Heam,  Acton  Chamberlain, 
and  Miss  Bacon,  though  none  of  these 
authors  has  written  at  length  on  the  drama 
proper. 

In  New  York  I  saw  the  fine  productions 
of  "The  Darling  of  the  Gods"  and  "Madame 
Butterfly,"  and  abroad  "Honneur  Japonais" 
and  "Princesse  Sourire."  They  were  pictur- 
esque, but  badly  acted  and  highly  artificial, 
because  it  is  impossible  for  an  actor  to  imper- 
sonate a  Japanese  in  the  proper  spirit  with- 
out having  studied  the  play  in  Japan. 

In  order  to  give  a  fair  idea  of  the  Japanese 
drama,  the  subjects  of  which  are  taken,  both 

[  viii  ] 


INTRODUCTION 

in  the  old  classic  and  the  modern  drama, 
mostly  from  historic  feats  in  the  Minamoto 
and  Taira  wars  and  also  from  popular 
legends,  I  have  selected  scenes  which  to  my 
mind  are  intensely  thrilling  and  have  an 
amount  of  sensationalism  and  horror  of 
which  we  have  never  been  aware.  My  aim 
has  been  to  show  what  the  Japanese  theatre 
really  is,  namely,  a  mixture  of  brutality, 
delicate  poetry,  and  wonderfully  beautiful 
stage  pictures  and  scenery. 

The  five  dramas  in  this  book  are  taken 
from  many  plays.  Out  of  a  mass  of  docu- 
ments I  have  extracted  a  limited  number  of 
situations  which  I  have  put  together  in  order 
to  make  five  subjects,  each  complete  in  itself 
and  offering  possibilities  for  production  on 
the  English  and  American  stage.  Instead 
of  the  long,  rather  tedious  dialogues  that 
occur  in  the  original,  I  have  written  rapid 
dramatic  scenes  giving  an  actor  full  oppor- 
tunity to  work  himself  into  the  spirit  of  the 
part. 

Some  of  these  scenes  have  never  been  pub- 
lished even  in  Japan.  They  have  been 
handed  down  from  generation  to  generation, 
and  will  probably  be  given  on  the  Japanese 
stage  ad  vitam  eternam  on  account  of  their 
scenic  realism. 

[ix] 


INTRODUCTION 

The  stage  itself  differs  from  ours  in  three 
important  particulars.  For  one  thing,  it  re- 
volves, so  that  while  one  scene  is  being  acted 
another  is  being  prepared.  Secondly,  a  flow- 
ery way  one  yard  wide  stretches  on  the  left 
from  the  back  of  the  audience  to  the  stage. 
It  is  never  absent.  Max  Reinhardt  intro- 
duced it  in  "Sumurun,"  and  later  the  man- 
ager of  the  Winter  Garden  in  New  York 
used  it  for  the  purpose  of  exhibiting  pretty 
girls.  In  the  third  place,  the  Chorus  plays 
an  essential  part  in  the  action,  much  as  in  the 
Greek  drama. 

In  the  presentation  of  an  old  play  the 
Chorus  sits  above  the  stage  in  full  view  of 
the  audience.  It  usually  consists  of  the 
talker,  who  explains  the  thoughts  of  the 
actors;  the  shamisen-player,  who  accom- 
panies the  talker  and  helps  him  by  laughing 
or  crying  according  to  the  action;  and  a 
flute-player,  who,  among  other  things,  imi- 
tates the  singing  of  birds,  the  sobbing  of 
women,  and  the  departing  of  souls.  When 
the  actors  are  silent,  the  Chorus  has  generally 
something  to  explain  about  their  state  of  soul. 

In  "Forsaken  Love,"  in  this  volume,  the 
revolving  stage  and  the  Chorus  are  em- 
ployed, and  in  "The  Hands  in  the  Box"  the 
flowery  way. 

[x] 


INTRODUCTION 

As  already  stated,  I  have  not  found  any 
complete  study  of  the  Japanese  drama,  old 
or  modern,  fertile  a  field  as  it  offers.  It  is 
an  institution  that  forms  part  of  the  very  life 
of  the  nation.  In  Tokyo  alone  there  are  as 
many  theatres  as  in  New  York,  though  few 
are  large.  The  buildings  are  never  more 
than  two  stories  high,  there  being  only  one 
balcony;  but  they  are  wide,  and  the  stage  is 
in  every  case  as  wide  as  the  house. 

Famous  theatres  are:  Kabukiza,  Teiko- 
kuza,  Tokyoza,  Shinjomiza,  Hongoza,  and 
Meijiza.  The  leading  living  actors  are: 
Uzaemon,  Shikwan,  Danyemon,  who  play  at 
the  Kabukiza;  and  Baiko,  who  plays  at  the 
Teikokuza.  I  was  fortunate  enough  to  see 
the  famous  actors  Sadanji  and  Danzo  at  the 
Meijiza  before  they  retired  from  the  stage. 
The  most  famous  tragedian  of  the  nineteenth 
century  was  Danjuro. 

Some  ten  years  ago  a  clever  actor  Kawa- 
kami,  husband  of  the  once-famous  Sadaya 
Ko,  began  to  play  translations  of  Shakes- 
peare, Sardou,  Moliere,  and  other  foreign 
dramatists.  I  saw  him  give  "Hamlet," 
"Othello,"  and  "Tosca."  They  were  badly 
acted  from  our  point  of  view,  but  pleasing  to 
Japanese  audiences. 

The  experiment  met  with  success,  and  the 

[xi] 


INTRODUCTION 

result  was  the  building  in  1911  of  the  Im- 
perial Theatre,  the  Teikokuza,  as  well-con- 
structed and  well-managed  as  the  finest 
theatre  in  America.  Old  dramas  are  pro- 
duced in  it,  modern  comedies,  operas,  ballets. 
It  features  women  actresses,  who,  as  is 
known,  did  not  exist  a  few  years  ago,  be- 
cause all  female  parts,  as  in  China,  were 
taken  by  men.  Even  today  one  must  go  to 
a  theatre  where  a  woman's  role  is  taken  by 
a  man  to  see  it  really  well  done. 

The  Japanese  public  patronize  the  Teiko- 
kuza because  it  is  fashionable  and  attended 
by  the  Mikado's  family.  But  the  real  art 
lovers  would  rather  sit  on  the  floor  in  the 
little  square  boxes,  where  they  can  eat,  drink, 
smoke,  and — sleep  when  not  looking  at  the 
wonderful  stories  of  old  Japan,  the  Japan 
that  has  survived  commercialism. 

LEO  DURAN, 


[xii] 


THE   DAIMYO 


CHARACTERS 

JIRO  DANYEMON,  A  Doimyo  ^ 
NAMiKO,  A  Geisha 
YASui,  A  Travelling  Monk 
KOBUYE,  A  Poor  Woman 
SATO,  A  Peasant 

f^^^^,^  i  Samurai  under  Danyemon 

SOGADAKE    \  ^ 


1  Prince  ruling  over  a  Japanese  province. 


THE   DAIMYO 


The  action  takes  place  in  the  wooded  moun- 
tains of  Nikko,  Japan,  in  September,  the 
month  when  the  maple  tree  is  all  red,  and 
very  beautiful. 

Time:    Eighteenth  Century 

The  stage  represents  a  little  house  in  the 
woods  of  Nikko.  Only  one  third  of  the  house 
is  seen,  and  it  is  opened  on  the  side  in  view 
of  the  audience.  A  door,  with  steps,  opens 
on  to  the  stage.  Another  door  slides  outside 
in  view  of  the  public.  Doors  are  ordinary 
paper  doors.  The  open  side  can  be  closed 
with  bamboo  screens  from  inside.  The  house 
is  raised  above  the  ground  on  supports.  On 
the  floor  of  the  same  are  an  ash  box,  a  large 
paper  lamp,  and  some  cushions.  At  the  left 
side  of  the  stage,  which  is  supposed  to  be  a 
public  road,  is  a  well,  with  rope  and  bucket 
for  drawing  water,  arranged  with  a  windlass 
to  wind  the  rope.  The  scenery  in  the  back- 
ground  represents  maple  trees  with  the 
leaves  turned  red.      A  torii^  can  be  seen 

1  Religious  arch. 

[3] 


PLAYS     OF     OLD     JAPAN 

through  the  trees;  also  a  bridge.  When  the 
curtain  rises ,  it  is  jive  o'clock  in  the  afternoon. 
The  rising  of  the  curtain  is  announced  by  a 
noise  made  by  beating  together  two  sticks  of 
bamboo. 

NAMiKO  is  discovered  sitting  in  the  house  fac- 
ing the  audience.  She  begins  to  sing^  accom- 
panying herself  on  the  shamisen.^  She  is 
richly  dressed  in  dark  blue  and  silver^  with 
an  obi  ^  of  orange  and  purple;  gold  pins  are 
in  her  hair. 

NAMiKO,  singing 

U  PON  the  mountain  there  is  dwelling 
A  little  musume  of  delight. 
All  day  her  song  is  gay  and  bright, 
With  joyous  birds  the  music  swelling, 
Her  little  house  among  the  flowers 
Holds  me  bewitched  and  ever  pining 
There  till  the  dawn  to  be  reclining 
In  sweetest  bonds  amid  its  bowers, 

ONamiko! 
Dear  beloved  musume  of  Nikko, 
I  fain  would  be  with  words  beguiling 
To  tell  you  how  I  love  your  smiling, 
Yet  do  I  sing  for  an  echo, 

ONamiko! 


1  Japanese  guitar. 

2  Heavy  silk  belt. 


[4] 


THE    DAIMYO 

[ YASUi,  dressed  in  white,  with  a  rosary 
and  a  hell,  is  seen  advancing  from  the 
left  side.  He  looks  tired  and,  hearing 
the  song  J  stops  and  listens  to  it. 

YASUI 

A  fairy  concealed  in  this  house  so  sweetly 
sings  that  I  almost  forget  my  weariness  .  .  . 
what  a  long  and  hard  road  •  .  .  This  well 
will  afford  me  .great  relief  ...  I  am  dying 
of  thirst.  (He  draws  a  bucket  of  water  and 
drinks.)  That  water  is  superior  to  the  wine 
I  have  given  up.  (namiko  ceases  playing. ) 
Perhaps  a  kind  heart  has  need  of  prayers. 
The  divine  spirit  will  help  me,  and  in  return 
I  may  be  given  a  little  rice. 

IHe  rings  his  bell. 

NAMIKO,  putting  her  shamisen  aside, 
and  going  to  the  sliding  door,  push- 
ing it  partly  open 
It  is  a  young  monk.    He  seems  very  hand- 
some for  one  in  such  a  lowly  profession. 

YASUI 

This  is  a  wonderful  apparition. 

[He  lowers  his  eyes. 

ISTAMIKO,  sliding  open  the  door  a  little 
more 

[5] 


PLAYS     OF     OLD     JAPAN 

Hey!  monk!  Come  nearer.  You  look 
very  tired  .  .  .  you  can  sit  on  those  steps, 

YASui,  not  looking  at  her. 

I  will  not  come  near  you  unless  you  re- 
quire from  me  the  soothing  prayers  of  the 
Master.  If  you  request  it,  I  will  kneel  down 
and  say  them  a  thousand  times,  until  your 
house  is  blessed  and  the  evil  spirits  gone. 

NAMIKO 

Yes,  I  do  need  comfort,  and  it  may  be  well 
that  you  come  in  and  recite  the  precepts  of 
Shinto 

YASUI 

It  is  good  of  you  to  be  thus  observant.  .  . . 
May  you  always  be  happy. 

IHe  removes  his  sandals  and  goes  in 
after  her. 

NAMIKO 

Kneel  here  by  the  ash  box.  I  will  bring 
you  some  drink  to  give  you  strength. 

YASUI 

Thank  you  ...  do  not  trouble  yourself 
...  I  had  plenty  of  water  at  the  well  .  .  . 
I  shall  proceed. 

IHe  takes  his  rosary   between  his 
hands  and  is  about  to  pray. 
[6] 


THE    DAIMYO 
NAMIKO 

Wait,  I  think  a  bowl  of  rice  will  do  you 
good. 

YASUI 

If  you  will  permit  me,  I  will  pray  first  and 
eat  the  rice  afterward. 

NAMIKO 

Do  not  be  in  such  haste.  ...  I  really  do 
not  need  the  prayers  so  much.  I  am  only  a 
singing  girl,  and  I  have  some  important 
things  to  ask  you. 

YASUI 

You  should  not  try  to  tempt  me,  even  if 
you  are  a  singing  girl.     I  will  go. 

NAMIKO 

I  am  unhappy;  can  you  not  give  me  good 
advice? 

YASUI 

Consult  an  old  priest  who  has  sufficient 
learning  and  experience  to  tell  you  what  to 
do  for  your  salvation.  I  am  only  a  poor 
travelling  monk.  I  know  nothing  of  the 
world,  and  I  ought  not  to  speak  to  young 
women,  especially  those  in  your  profession. 

[7] 


1>L.AYS     OF     OLD     JAPAN 
NAMIKO 

My  profession  is  not  a  happy  one.  But  do 
not  think  that  all  geisha  girls  are  immoral. 
I  have  only  one  master. 

YASUI 

You  are  very  beautiful  and  he  should 
marry  you. 

NAMIKO 

My  master  is  a  prince.  He  is  already 
married.  A  year  ago  he  took  a  fancy  to  me 
when  I  was  singing  at  the  House  of  the  Gold 
Peony  in  Tokyo.  He  brought  me  here  and 
comes  to  see  me  once  in  a  while.  But  he  is 
terribly  jealous  and  beats  me  often  without 
reason. 

YASUI 

Poor  woman!  Does  he  not  allow  you  to 
see  anybody? 

NAMIKO 

I  have  some  servants  .  .  .  and  once  a 
month  he  sends  me  under  escort  to  my 
mother,  who  is  the  wife  of  Tanjiro,  the 
Asakusa  cobbler. 

YASUI 

I  am  surprised  that  a  master  could  be  so 
cruel  as  to  beat  one  with  such  a  pretty  face. 
Can  you  not  leave  him? 
[8] 


THE    DAIMYO 
NAMIKO 

If  I  did,  he  would  know  it  in  a  few  days 
and  kill  me. 

YASUI 

No  man,  then,  ever  sees  you? 

NAMIKO 

If  my  master  saw  you  here  he  would  cut 
you  open  from  shoulder  to  hip. 

YASUI 

.Who  is  this  terrible  master? 

NAMIKO 

That  does  not  matter.  .  .  .  All  I  want  to 
know  is.  .  .  .  Do  you  consider  that  a  man 
has  the  right  to  beat  a  woman,  even  if  he  has 
a  jealous  disposition? 

YASUI 

A  master  is  a  master,  and  the  law  gives 
him  the  right  of  life  and  death. 

NAMIKO 

So,  it  is  right  that  a  samurai  should  treat 
women  like  swine? 

YASUI 

A  samurai  has  no  master  except  the 
daimyo,  and  if  the  daimyo  beats  his  wife  or 
mistress  then  a  samurai  may  do  the  same, 
even  if  only  to  test  the  strength  of  his  arm, 

[9] 


PLAYS     OF     OLD     JAPAN 

But  if  the  daimyo  is  displeased  by  such  ac- 
tions, then  it  is  time  for  the  samurai  to  com- 
mit harakiri/ 

NAMIKO 

Yes  .  .  .  the  daimyo.  .  .  .  But,  kind 
monk,  if  you  had  a  wife  would  you  be  so 
cruel? 

YASUI 

That  subject  does  not  interest  me.  I  be- 
came a  monk  to  be  free  from  the  snares  of 
women,  and  I  find  that  one  may  be  very 
happy  without  women  in  his  life.  .  .  .  Now 
I  must  go. 

NAMIKO 

Please  stay  a  little  longer.  ...  I  am  glad 
you  came.  I  am  lonely  here,  and  when  my 
master  comes  it  is  terrible.  He  treats  me  so 
harshly. 

YASUI 

It  is  a  pity  that  such  a  nightingale,  beau- 
tiful as  you  are,  should  be  wasting  her  life  in 
the  wilderness.  .  .  .  But  .  .  .  will  you  not 
tell  me  the  name  of  your  master? 

NAMIKO 

You  do  not  know  him.  .  .  .  Oh,  he  is 
away  for  a  long  time.  The  last  time  I  saw 
his  face,  it  was  distorted  with  rage.     Some 

1  Japanese  suicide. 

[10] 


THE    DAIMYO 

poor  people  had  stolen  rice  from  his  stores, 
and  with  a  few  samurai  he  was  riding  about 
the  country  trying  to  find  the  robbers. 

YASUI 

I  see  that  if  he  should  suddenly  arrive  I 
would  lose  my  head. 

NAMIKO 

A  nice  monk  like  you  should  not  be  a  cow- 
ard. You  see,  he  beats  me,  but  I  know  how 
to  get  even  with  him.  I  make  him  drink  so 
much  that  he  can't  walk  any  more,  and  then 
I  play  with  him  and  push  him  down  until  he 
hurts  himself  and  falls  into  the  ash  box  .  .  . 
He  ...  Hi  ...  Hi  ..  . 

IShe  mimics  the  scene  and  laughs 

YASUI 

I  am  afraid  you  are  wicked  too. 

NAMIKO 

No,  I  am  too  young  to  be  wicked.  ...  I 
am  only  sixteen.  What  is  your  name,  good 
monk? 

YASUI 

Kamiyama  Yasui. 

NAMIKO 

Well,  Yasui  san,  you  cannot  refuse  a  pipe 
of  good  tobacco.  Here  it  is.  .  .  .  Take  that 
pipe  and  smoke  if  you  like. 

[11] 


PLAYS     OF     OLD     JAPAN 
YASUI 

I  will  stay  a  little  longer  and  smoke  a  pipe 
if  you  will  promise  me  one  thing. 

NAMIKO 

.What? 

YASUI 

'   Sing  the  song  again  that  I  heard  before  I 
came  in. 

NAMIKO 

Very  well,  and  after  that  we  will  have 
supper  together,  and  wine  and  more  song, 
and  .  .  . 

YASUI 

No !  No !  Do  not  say  such  terrible  things. 
I  shall  go  away  shortly.  Do  you  forget  that 
I  am  a  monk? 

NAMIKO 

I  have  forgotten  it  since  I  took  a  fancy  to 
you. 

YASUI 

Religion  forbids  me  even  to  look  at  a 
woman.  I  deserve  to  have  my  eyes  burned 
out  for  permitting  myself  to  gaze  at  your 
beauty.     I  am  ashamed ! 

NAMIKO 

Smoke  while  I  sing. 

l^He  fills  the  pipe  while  she  sings  the 
words  of  the  song,  looking  at  him 
[12] 


THE    D AIM YO 

meantime  in  a  bewitching  way.  After 
a  little  while  he  gazes  at  her  intently 
and  a  strong  emotion  can  he  seen  on 
his  face.  Suddenly  a  long,  low  bugle 
call  is  heard  in  the  distance,  yasui 
drops  his  pipe  and  namiko  her 
shamisen. 
Did  you  hear? 

YASUI,  prostrating  himself  and  shak- 
ing all  over 
I  know  that  call ;  the  daimyo  Jiro  Danye- 
mon,  Lord  of  Nikko,  is  hunting  in  the  woods 
and  is  probably  coming  this  way. 

NAMIKO 

Yes  .  .  .  it  is  true  .  .  .  but  why  do  you 
tremble  so?  He  is  still  far  away  and  may 
not  come  near  us. 

YASUI 

Yes  .  .  .  but  if  he  does  come,  and  fancies 
calling  on  you,  and  discovers  me,  a  monk,  in 
this  place  ...  he  will  have  me  hanged  at  the 
well.  ...  I  know  how  cruel  he  is.  Give  me 
my  sandals.  ...    I  shall  go  immediately. 

NAMIKO 

You  have  about  as  much  heart  as  a  dove. 
.  .  .    Go  away  if  you  are  afraid,  but  listen  to 
this  ...  I  want  you  to  come  back  tonight. 
[13] 


PLAYS     OF     OLD     JAPAN 
YASUI 

No,  I  shall  be  far  away  from  here. 

NAMIKO 

Listen,  I  tell  you.  I  want  you  to  make  me 
happy.  If  the  daimyo  does  not  come  here, 
or  if,  after  having  stopped  here  he  has  de- 
parted, I  shall  light  this  lamp ;  it  will  mean 
that  I  am  waiting  for  you,  and  you  will  come 
to  me ;  but,  if  you  do  not  see  any  light,  then 
go  your  way  and  forget  the  nightingale. 

YASUI 

You  are  beautiful,  but  your  mouth  speaks 
evil  words.     I  shall  never  return. 

IHe  goes  to  the  door,  forgetting  his 
rosary. 

NAMIKO 

Never  is  a  fool's  word.  We  shall  meet 
again. 

[^She  pushes  him  out  and  closes  the 
door  sharply. 

YASUI 

Where  shall  my  trembling  spirit  guide  me? 
{He  walks  toward  the  well.  The 
bugle  call  is  suddenly  heard  very  near 
at  hand. 

How  wise  I  have  been  to  leave  that  sing- 
ing girl  I 

[14] 


THE    DAIMYO 

IHe  hurries  to  the  well  and  pretends 
to  be  drinking.  The  daimyo  enters  in 
a  stately  costume  of  grey  and  gold,  a 
Mack  mask  on  his  face,  walking  on 
geta/-  and  with  two  swords  in  his  belt. 
He  walks  like  a  god,  very  slowly  and 
very  straight.  When  in  front  of  the 
welly  he  stops  but  does  not  turn  his 
head,  then  continues  his  walk.  Two 
samurai,  in  rich  costumes  of  grey  and 
black,  bearing  their  master's  crest, 
follow  closely,  armed,  but  without 
masks.  Immediately  following  them 
comes  a  peasant,  dragging  an  old 
woman  at  the  end  of  a  rope.  The 
daimyo  faces  the  audience  and  one  of 
the  samurai  quickly  places  a  camp- 
stool  under  him.  The  other  removes 
his  mask  and  both  seat  themselves  on 
the  ground.  During  this  action, 
YAsui  slips  away  furtively  to  the  left. 
DANYEMON^  without  turning  his  head. 
It  will  be  necessary  to  drive  these  dirty 
monks  from  my  estate.  They  are  good  only 
to  corrupt  women  and  to  sell  empty  words 
for  money. 

[namiko,  having  arranged  things  in 
the  room,  goes  out  through  the  back 
door. 

>  Mill       I.     I     I    . 

1  High  wooden  shoes. 

[15] 


PLAYS     OF    OLD     JAPAN 

SATO^  kneeling  in  front  of  the  daimyo 
with  the  woman. 
My  lord,  you  have  made  me  drag  this  poor 
woman,  my  neighbor,  here.    What  are  your 
intentions  towards  her? 

DANYEMON 

Leave  her  here  a  moment.  I  shall  reward 
you  later  with  a  fine  spectacle,  (sato  retires 
near  the  well  after  salutation.)  Woman, 
you  have  stolen  from  your  lord ;  do  you  know 
that  that  is  the  worst  of  crimes? 

KOBUYE 

I  took  only  a  little  rice  for  my  starving 
family.  My  husband  died  last  year  in  your 
service  and  my  three  little  boys  are  sick. 

DANYEMON 

You  could  ask  for  food  or  beg  in  the  street 
instead  of  robbing  my  stores.  I  shall  have  to 
punish  you  severely  for  this. 

KOBUYE 

O  lord !  What  is  a  handful  of  rice?  Every- 
thing in  the  land  belongs  to  you.  Am  I  to 
die  for  such  a  small  offence? 

DANYEMON 

What  you  call  a  small  offence  is  a  horrible 
crime,  because  if  all  my  subjects  took  a  hand- 
ful of  rice  from  the  pile  I  should  be  reduced 
[16] 


THE    D AIM YO 

to  poverty;   therefore,  an  example  must  be 
made.  .  .  .    Sato! 

SATO,  kneeling  down 
Your  order,  master? 

DANYEMON 

Tie  the  rope  around  the  shoulders  of  this 
woman  and  let  her  drink  freely  at  the  bottom 
of  the  well. 

KOBUYE 

Pity,  kind  master !  What  will  become  of 
my  little  children? 

DANYEMON 

Do  not  be  alarmed.  I  will  take  care  of 
them  until  they  are  good  and  valuable 
servants. 

[sATO  drags  the  woman  to  the  well 
and  does  as  directed;  she^  having  her 
hands  tied,  cannot  resist. 

KOBUYE 

Spare  me!     Spare  me!.  .  . 

[sATO  pushes  her  into  the  well  and  the 
rope  can  he  seen  going  down  by  the 
revolutions  of  the  wheel. 

SATO,  kneeling  down 
I  am  a  very  low  servant  of  my  lord,  but  I 
beg  of  him  to  shorten  the  life  of  this  poor  old 
woman.     She  will  suffer  a  long  time. 
[17] 


PLAYS     or     OLD     JAPAN 
DANYEMON 

What  business  is  it  of  yours?   Will  you  go 

with  her  down  there  ?   Pull  her  out  presently. 

lit  is  to  be  noted  that  neither  the 

daimyo  nor  the  samurai  ever  look  at 

the  well.    SATO,  very  quickly  hut  with 

effort,  draws  the  woman  up.     Her 

hair  is  hanging  down  and  water  is 

streaming  from  her  clothes.     She  is 

almost  choking. 

Do  not  touch  her,  Sato.  .    .    .     Woman 

...  I  have  forgotten  to  ask  you  what  you 

intend  to  do  with  the  little  house  and  yard 

where  you  made  your  home. 

KOBUYE 

My  lord  ...  it  ...  is  ..  .  yours.  .  .  . 
To  .  .  .  whom  .  .  .  could  it  belong?  .  .  . 
My  husband  .  .  .  children  .  .  .  lived  happy 
there  .  .  .  please  .  .  .  spare  my  life. 

DANYEMON 

It  is  well  that  you  give  your  property  to 
your  lord.  I  shall  see  that  your  boys  are 
brought  up  as  samurai,  members  of  my  body- 
guard.    Sato,  let  her  down. 

SATO 

Kind  lord! 

DANYEMON 

Sato,  do  your  duty. 

[18] 


THE    D AIM YO 

[sATO  lets  her  down,  namiko  has 
come  out  since  the  last  three  sentences 
were  spoken,  and  through  the  slightly 
opened  door  has  observed  the  scene. 
She  opens  the  door  wider  and  kneels 
down. 

NAMIKO 

O  kind  master!  Jiro  Danyemon  san;  deign 
to  spare  this  poor  woman ;  pull  up  the  rope. 
Do  it  for  me.     I  shall  be  so  grateful. 

DANYEMON 

Who  dares  to  address  me  in  such  a  man- 
ner? 

[sATO,  without  waiting,  pulls  on  the 
rope  and  kobuye  reappears  in  a  still 
worse  condition,  blood  flowing  from 
her  mouth. 

NAMIKO,  crying 
Namiko  speaks  to  you,  dear  lord.    It  is  a 
terrible  thing  to  make  an  old  woman  suffer 
like  that.    End  her  suffering  for  my  sake. 

DANYEMON 

Women  ought  to  stay  where  they  belong, 
in  bed  or  in  the  kitchen.  It  is  enough ;  I  will 
decide. 

\^He  draws  his  long  sword  slowly  and 
with  one  stroke,  without  looking  at 
the  suspended  woman,  cuts  the  rope 
[19] 


PLAYS     OF     OLD     JAPAN 

above  her  so  that  she  drops  to  the  bot- 
tom of  the  well     sato  looks  down 
horrified,    danyemon  stands  up. 
Sato,  my  retainers  shall  escort  you  to  your 
house,  as  it  is  getting  dark,  and  you  shall  re- 
ceive one  ryo  ^  for  your  work.    Say  to  all  that 
the  justice  of  the  daimyo  is  great. 

SATO,  kneeling  down 
Thus  I  shall  say:  "The  justice  of  our  lord 
the  daimyo  is  great." 

[danyemon  dismisses  them  all  with  a 
gesture,  then  goes  up  the  steps. 
NAMiKO  is  waiting  for  him,  removes 
his  geta  and  they  sit  on  each  side  of 
the  ash  booc. 

NAMIKO 

Most  honorable  lord,  your  servant  is  glad 
to  see  you  here. 

DANYEMON 

I  have  about  cleaned  the  country  of  these 
vermin  and,  passing  through  here,  I  thought 
I  would  stop  and  ask  you  for  a  drink  of  wine. 

NAMIKO 

You  do  not  need  to  ask,  master,  but  take ; 
all  here  belongs  to  you. 

DANYEMON 

I  see  that  it  is  your  desire  to  please  me  this 

1  Gold  piece. 

[20] 


THE    D AIM YO 

evening.    Well,  I  may  stay  overnight.    You 
can  prepare  supper  and  my  pipe. 

NAMIKO 

My  heart  is  filled  with  happiness  when  I 
hear  such  joyful  news.  I  am  so  lonesome. 
Why,  you  have  not  been  here  in  thirty  days! 

DANYEMON 

Do  you  love  me  still? 

NAMIKO 

I  love  you  when  you  are  kind,  but  not  when 
you  are  fierce  and  cruel,  as  with  the  woman 
in  the  well. 

DANYEMON 

I  do  not  wish  you  to  interfere  in  these  mat- 
ters .  .  .  Namiko  san  ...  I  am  very  much 
in  love  with  you.  Every  time  I  come  here,  I 
realize  what  a  wonderful  being  you  are.  .  .  . 
I  want  to  be  good  to  you  and  will  increase 
the  allowance  to  your  family  .  .  .  but  you 
must  be  very  nice  and  true  to  me. 

NAMIKO 

I  am  ever  at  your  service. 

DANYEMON 

I  will  tell  you  what  I  want.     You  and  I 
must  be  alone  tonight.    Let  the  servants  re- 
tire to  their  quarters.    Cook  me  some  rice  and 
tea  yourself;   also  slice  me  a  little  raw  fish. 
[21] 


PLAYS     OF     OLD     JAPAN 

At  the  same  time,  bring  me  some  of  my  good 
strong  wine. 

NAMiKO,  getting  up 
I  will  do  as  you  say. 

DANYEMON 

Wait!  give  me  my  pipe  first.  {She  fills 
his  pipe,  lights  it  and  hands  it  to  him.)  After 
supper  I  hope  you  will  sing  one  of  your  love 
songs  and  I  shall  be  filled  with  passionate 
desire. 

NAMIKO 

Your  kindness  overpowers  me.  Do  you 
really  care? 

[^She  goes  out  while  he  is  still  looking 
at  her.  danyemon  then  begins  to 
smoke  silently.  Suddenly  he  discov- 
ers, on  the  floor,  the  rosary  left  by  the 
monk.  He  knocks  out  the  tobacco 
from  his  pipe  while  his  face  exhibits 
the  most  horrible  expression  of  anger 
and  becomes  flushed  with  rage.  He 
picks  up  the  rosary  and  conceals  it  in 
his  sleeve.  As  namiko  enters,  carry- 
ing upon  a  tray  a  bottle  of  sake  ^  and 
two  red  lacquer  bowls,  he  at  once  as- 
sumes his  former  expression,  but  does 
not  look  at  her. 
Here  I  am  with  the  wine  you  like. 

1  Rice  wine. 

[22] 


THE    DAIMYO 
DANYEMON 

Pour  out  some  for  me.  .  .  .  (She  does 
so.)  Have  you  drunk  today  with  somebody 
else? 

NAMiKO,  startled 

Certainly  not!  Who  but  my  dear  lord 
should  drink  so  precious  a  liquor? 

DANYEMON 

It  is  well  .  .  . 

[namiko  hands  him  the  cupj  and  as 
they  are  on  each  side  of  the  ash  box, 
he  bends  over  a  little  and  looks  stead- 
ily into  her  face^  without  moving,  for 
half  a  minute;  then,  slowly,  his  ex- 
pression changes  to  one  of  anger.  His 
eyebrows  move  up  and  down,  and  she, 
more  and  more  frightened,  drops  the 
cup  into  the  ash  tray. 

Deceitful  woman ! 

NAMIKO,  thoroughly  frightened 
Kind  lord! 

DANYEMON 

How  dare  you  look  in  my  face  after  hav- 
ing entertained  a  monk  of  the  street  in  my 
absence? 

NAMIKO 

I  have  not,  my  lord. 

[23] 


PLAYS     or     OLD     JAPAN 
DANYEMON 

You  lie  ...  I  shall  kill  you.  .  .  .  [When 
was  he  here? 

NAMIKO 

I  assure  you  .  .  . 

DANYEMON,  pulliug  the  rosary  from 

his  sleeve 
This  is  what  he  forgot  after  caressing 
you  .  .  . 

NAMIKO 

Oh!  .  .  . 

DANYEMON 

Speak! 

NAMIKO 

Let  me  explain.  He  was  a  poor  old  tired 
monk.  He  asked  for  food.  I  gave  him  some 
in  exchange  for  prayers  which  he  recited  so 
that  you  should  return  soon. 

DANYEMON 

The  monk  who  came  out  of  here  was  not  so 
old  as  you  want  him  to  be.  He  is  the  one  who 
drinks  my  wine  and  smokes  my  pipe.  Is  he 
your  lover?    Tell  me  the  truth. 

[He  takes  up  his  sword. 

NAMIKO 

He  is  not  my  lover:  I  swear  it. 

DANYEMON 

If  he  is  not  he  will  be;  Ilmowyou.  When 
is  he  coming  back?     Well,  you  shall  be  his 
[24] 


THE    D AIM YO 

...  in  my  own  way.    Speak,  now.    When 
is  he  coming  back? 

IHe  threatens  her  with  the  sword. 

NAMIKO 

Do  not  kill  me.  I  will  tell  you.  He  will 
come  back  when  this  lamp  is  lighted  .  .  . 
No !  .  .  .  No !  .  .  .  I  mean  when  I  light  the 
lamp  ...  he  will  understand  that  I  need  his 
prayers.  But  he  may  not  come  back.  Why 
should  he  return?  He  only  stopped  here  for 
a  few  moments. 

DANYEMON 

The  beast  left  his  virtue  here  with  his 
rosary.  Am  I  a  fool  ?  Can  a  man  go  his  way 
in  peace  after  you  have  cast  your  eyes  upon 
him?  It  is  enough;  you  deceived  me  and 
you  deserve  your  fate. 

[danyemon  rises  and  draws  his  long 
sword  slowly. 

NAMIKO 

Master!     Master! 

\_She  rushes  away  into  the  back  room 
and  closes  the  door  after  her. 

DANYEMON 

No,  you  cannot  escape  me,  when  I  am 
sober. 

\^He  goes  to  the  door  and  tries  to  slide 
it  open,  but  does  not  succeed.  He  then 
[25] 


PLAYS     OF     OLD     JAPAN 

lets  fall  part  of  the  garment  covering 
his  right  arm^  which  appears  in  a  white 
undersleeve.  Lifting  his  sword  he 
cleaves  the  door  apart  from  top  to 
bottom  and  enters.  A  long  crying 
and  pleading  is  heard;  then  silence 
again,  then  the  dull  thud  of  a  body 
falling. 

[It  has  now  grown  dark;  the  moon 
shines  out  among  the  trees.  The  monk 
is  observed  approaching  from  the 
left;  he  stops  to  gaze  about  him. 
[danyemon  comes  out  of  the  room 
wiping  the  blood  from  his  sword, 
which  he  afterwards  places  on  the 
floor.  Then  he  lets  down  the  blinds 
which  conceal  the  room  from  the  audi- 
ence,  so  that  his  movements  cannot  be 
seen. 

YASUi,  sitting  by  the  well 
What  a  wonderful  night !  The  rays  of  the 
moon  glide  like  silver  among  the  autumn 
leaves.  O  glorious  maple  trees!  What  a 
splendid  country !  Not  a  sound !  {He  looks 
at  the  house.)  She  has  not  lighted  the  lamp. 
It  is  just  as  well.  Perhaps  the  daimyo  is  now 
with  her  or  else  her  lover  has  returned.  Just 
the  same  I  have  had  a  terrible  temptation. 
Poor  Yasui !  You  are  here  at  the  door  of  a 
geisha  instead  of  journeying  through  the 
[26] 


THE    DAIMYO 

woods  of  Nikko.  The  flesh  is  weak.  It  is 
wonderful  how  the  voice  of  a  little  woman 
can  change  the  heart  of  a  man.  The  Master 
of  us  all  is  great  in  all  his  works.  Now  I 
must  proceed  over  the  Tokaido^  and  say 
good-by  to  this  dream.  {Through  the  blinds 
the  lamp  is  seen  to  be  lighted.)  Do  I  believe 
my  eyes?  She  is  lighting  the  lamp.  She  is 
waiting  for  me.  My  heart  beats  loudly.  It 
is  like  a  fever.  ...  I  must  drink  .  .  .  what ! 
The  rope  is  broken.  .  .  .  {He  fastens  the 
bucket  to  the  end  of  the  rope,  draws  some 
water  and  drinks.)  What  is  the  matter  with 
this  water?  It  tastes  like  blood.  I  must  be 
ill.  Shall  I  enter  the  house  or  run  away  from 
here?  {He  advances  slowly  to  the  house.) 
I  have  no  heart  .  .  .  Oh!  .  .  .  the  door  is 
slightly  open  .  .  .  it  is  safe  ...  she  will  sing 
for  me.  {He  goes  up  the  steps. )  What  shall 
I  do? 

IHe  stops  and  thinks  deeply,  then 
suddenly  removes  his  saridals  and 
enters  the  house.  Once  inside,  he 
pulls  up  the  blinds,  namiko  is  seen 
kneeling  down  near  the  ash  booo.  Her 
back  is  turned  toward  the  audience 
and  she  faces  the  back  door,  which  has 
been  replaced  as  it  was  before  the 

1  Famous  Japanese  road. 

[27] 


PLAYS     OF     OLD     JAPAN 

daimyo  cut  it  in  two.  Her  head  is 
slightly  inclined  toward  the  lamp, 
which  is  placed  at  her  left,  the  ash  boa: 
being  at  her  right,  yasui,  surprised 
at  the  silence  of  namiko,  kneels  near 
her. 

YASUI 

Namiko  san! 

[He  touches  her  slightly,  and  her 
head  falls  off  and  rolls  on  the  floor. 
YASUI  jumps  up  with  a  cry  and  takes 
the  head  of  namiko  to  the  light  of  the 
lamp.  At  that  moment  the  back  door 
opens  and  the  daimyo  appears  with 
a  terrible,  grinning  face.  The  horri- 
fled  monk,  at  this  sight,  drops  the 
head.  The  lamp  falls  and  dies  out. 
In  the  same  instant  the  moon,  which 
had  been  slowly  setting,  disappears 
and  noimng  remains  but  darkness, 
hw^tig^h^  audience  to  awake  gradu- 
ally as  from  a  painful  dream. 

CUETAIN 


[28] 


THE  HONOR  OF  DANZO 


CHARACTERS 

DANZO,  An  Outlaw 

MORI  SHiJAWA,  Lieutenant  of  Police 

KOMURASAKi,  Dauzo's  Sweetheart 

o  suKi,  Owner  of  the  Gold  Turtle  Inn 

COURTESANS  AND  SERVANTS  OF  THE  INN 


THE  HONOR  OF  DANZO 


The  action  takes  place  at  the  Yoshiwara  ^  of 
Yedo. 

Time:    Seventeenth  Century 

The  stage  represents  the  reception  room  of 
the  Gold  Turtle  Inn.  The  room  is  perfectly 
square.  In  the  centre  of  the  right  and  left 
panels  are  doors  leading  into  the  house.  The 
back  wall  is  divided  in  the  middle  by  a  door 
leading  outside^  through  which  the  street, 
now  deserted,  can  be  seen.  On  the  left  side 
of  the  back  door  is  a  shrine  containing  a 
kakemono  ^  and  a  plum-tree  branch  in  a  tall 
vase.  On  the  right,  a  gallery  with  railings 
overlooks  the  street.  From  the  audience,  it 
has  the  appearance  of  a  cage.  This  gallery 
can  be  closed  from  view  by  sliding  doors. 
Flat  cushions  everywhere,  also  ash  boxes.  In 
the  centre  of  the  reception  room  a  very  large 
copper  ash  vase  with  a  kettle  on  it. 
The  curtain  opens  to  the  sound  of  two  split 
bamboos  knocked  against  each  other.  It  is 
four  o'clock  in  the  afternoon,    danzo  is  dis- 

1  Girl's  market. 

2  Picture  painted  on  silk. 

[31] 


PLAYS     OF     OLD     JAPAN 

covered  in  an  ordinary  grey  kimono,  without 
swords,  seated  near  komurasaki^  who  is  also 
in  negligee,  consisting  of  a  short  black  kimona 
over  a  white  shirt  and  a  red  flannel  skirt. 

KOMURASAKI 

Oh  .  .  .  you  are  in  trouble  again,  my  poor 
Danzo.  .  .  .    What  have  you  done? 

DANZO 

I  killed  Takuchi  this  morning.  I  have 
since  heard  that  he  was  a  good  man,  and  I 
am  sorry.  .  .  .    The  police  are  after  me. 

KOMURASAKI 

Why  did  you  kill  him? 

DANZO 

I  need  money  for  my  ronines.^  Robbery 
does  not  pay  nowadays.  I  had  to  go  out 
hunting.  I  met  Takuchi.  He  would  not 
part  from  his  purse  without  fighting. 

KOMURASAKI 

You  are  a  terrible  man.  Can  you  not  keep 
quiet  and  lead  a  sensible  life?  I  can  earn 
enough  money  for  both  of  us. 

1  Outlaws. 

[32] 


THE     HONOR     OF     D  A  N  Z  O 
DANZO 

I  need  more  money  than  all  the  women  of 
this  house  could  make  in  ten  years,  and  be- 
sides .  .  .  my  responsibility  is  great.  My 
army  of  thieves  depend  upon  me  to  lead  them. 

KOMURASAKI 

You  are  strong,  Danzo,  but  the  Sho-gun  ^ 
is  stronger.  He  has  many  thousands  of  sol- 
diers. If  they  ever  catch  you  what  will  be- 
come of  poor  Komurasaki? 

DANZO 

I  will  make  it  hard  for  the  Sho-gun,  for  I 
have  already  defeated  his  private  guard  with 
my  sixty-six  ronines.  Now  listen  .  .  .  here 
is  a  purse  .  .  .  the  purse  of  Takuchi  ...  It 
contains  a  thousand  ryo.  Conceal  it  in  your 
room  and  I  will  take  it  away  later.  I  must 
be  careful  just  now. 

KOMURASAKI 

Where  are  you  going? 

DANZO 

I  shall  run  away  to  the  mountains  imtil 
the  excitement  is  over. 

KOMURASAKI 

I  love  you,  Danzo.  I  shall  suffer  terribly 
if  anything  happens  to  you.    Whatever  you 

1  Governor  of  the  state. 

[33] 


PLAYS     OF     OLD     JAPAN 

do,  never  forget  your  sweetheart,  Komu* 
rasaki,  who  thinks  of  you  only. 

DANZO 

When  I  have  piled  up  enough  money  to 
buy  a  large  estate,  a  castle  with  soldiers  to 
protect  it,  I  shall  marry  you  and  we  will  be 
happy. 

KOMURASAKI 

How  kind  of  you,  my  lord. 

DANZO 

But  I  warn  you  not  to  be  too  kind  to  men 
coming  to  this  house. 

KOMURASAKI 

I  assure  you  .  .  . 

suKi,  coming  in  from  the  right 

What!  You  again!  Get  out  of  here, 
Danzo.  See  .  .  .  Komurasaki  is  not  even 
dressed.  I  tell  you,  you  spoil  my  house.  I 
don't  like  you  around. 

DANZO,  laughing 

Do  not  get  into  such  a  temper,  dear 
Madam  Suki !  I  am  a  highway  robber,  it  is 
true,  though  some  of  your  customers  are 
worse  than  myself. 

[34] 


THE     HONOR     OF     DANZO 
SUKI 

They  spend  more  money  than  you  do. 
Look  here,  Komurasaki,  who  do  you  think  is 
coming  this  evening? 

KOMURASAKI 

I  have  no  idea. 

SUKI 

His  excellency  Mori  Shijawa,  Lieutenant 
General  of  the  Police ! 

DANZO 

I  am  going  away  from  here. 

SUKI 

Yes  indeed,  and,  my  boy,  forget  your  jeal- 
ousy as  soon  as  you  pass  the  door  because  he 
is  coming  for  no  other  than  Komurasaki. 

DANZO 

Woman  ...  I  have  a  short  sword  that 
will  cut  your  tongue  clean  off  if  you  do  not 
stop  talking. 

SUKI 

You  can  take  Komurasaki  away  if  you  are 
jealous.  I  will  give  her  to  you  if  you  pay 
the  price. 

DANZO 

I  could  give  you  a  thousand  ryo  if  I  wanted 
to,  but  wait.  I'll  take  her  away  and  you 
won't  get  a  sen  ^  in  return.  .  .  .    Beware! 

1  Not  quite  half  an  American  cent. 

[35] 


PLAYS     OF     OLD     JAPAN 
KOMURASAKI 

You  know,  Suki  always  teases  you.  Don't 
listen.  Go  now,  because  I  must  put  on  my 
silk  kimono. 

DANZO,  rising  and  walking  away 
Good-by.     I  shall  return  soon. 

[He  goes  out. 

SUKI,  pushing  Komurasaki  through 
the  right  door 
Quick  now.   {She  beats  her  hands  together 

several  times.)      O  Tsuru,  O  Kiku,  hurry 

downstairs  or  I  shall  have  to  fetch  you  with 

a  bamboo. 

\_She  arranges  the  cushions  in  the  gal- 
lery.  Several  girls  enter  from  the 
right,  wearing  rich  kimonos  of  light 
purple  and  white,  with  dark  purple 
ohi.  Their  hair  is  dressed  very  high 
and  ornamented  with  gold  pins.  They 
walk  in  a  stately  manner.  Their  faces, 
well-painted,  show  no  emotion,  suki 
kneels  down  near  the  copper  vase,  and 
they  kneel  near  her. 
I  want  to  tell  you  that  the  head  of  the  police 

is  paying  a  visit  to  my  house  this  evening. 

He  may  arrive  in  a  few  minutes,  perhaps. 

[36] 


THE     HONOR     OF     DANZO 

He  may  choose  to  spend  the  night  with  one 
of  you.    See  that  he  orders  a  good  dinner  and 
plenty  of  wine.    Pie  must  not  go  out  of  this 
house  unless  he  spends  five  ryo,  you  under- 
stand.   ( The  girls  how  silently. )    Very  well. 
[The  girls  walk  to  the  balcony  and 
kneel  near  each  other,  their  backs  to 
the  audience,  quite  still,  one  of  them 
smoking  a  diminutive  pipe.     Almost 
immediately,  a  samurai  in  a  rich  brown 
costume,  with  two  swords  in  his  belt 
and  a  basket  ma^k  on  his  face,  comes 
near  the  balcony  from  the  street.   He 
stops  in  front  of  each  girl,  then  seeing 
that  one  of  the  cushions  is  unoccupied, 
he  enters  the  house.    While  he  walks 
slowly  in,  suki  pushes  the  sliding 
doors  and  closes  the  balcony  from  the 
audience\sview.  The  newcomer  stands 
still  in  the  centre  of  the  room,    suki 
kneels  down  in  front  of  him. 

SUKI 

My  lord  comes  very  early  to  the  Yoshi- 
wara.  At  such  an  hour  the  crowd  is  still  out- 
side of  the  gates  and  you  are  the  first  to  visit 
my  house  today.  I  am  very  grateful.  Will 
you  'be  seated.  (The  samurai  removes  his 
mask.) 

O  Mori  Shijawa.  (She  bends  so  that  her 
[37] 


PLAYS     OF     OLD     JAPAN 

brow  touches  the  floor.)    My  lord,  this  house 
is  most  honored  by  your  presence. 

MORI,  sitting  down. 
Do  not  say  a  word  about  my  visit.    I  come 
because  I  have  a  fancy  for  a  girl  of  yours. 

SUKI 

Is  it  possible,  my  lord!  Who  is  she?  Have 
you  not  seen  her  on  the  balcony? 

MORI 

No.  I  have  not  recognized  her.  You  must 
send  for  that  beauty  at  once  because  my 
spirit  is  much  worried  about  her. 

SUKI 

It  must  be  the  graceful  Komurasaki.  Wait 
a  minute,  dear  lord,  I  shall  call  her  presently. 
(Claps  her  hands.)  Oie,  oie!  {A  servant 
appears  at  the  right  door.)  Bring  tea  and 
tell  Komurasaki  to  come  down  at  once. 

MORI 

Suki,  I  do  not  want  people  to  know  that  I 
am  here  on  account  of  a  girl,  because  they 
might  blame  me  for  not  leading  my  soldiers 
to  hunt  the  robber  Danzo. 

SUKI 

What  crime  has  Danzo  committed  again? 
[88] 


THE     HONOR     OF    DANZO 
MORI 

We  know  that  he  killed  in  order  to  rob  the 
rich  merchant  Takuchi. 

StJKI 

Is  it  possible!  Takuchi  was  such  a  good 
customer  of  mine.  But  here  comes  Komu- 
rasaki. 

[komurasaki  appears.  She  is  dressed 
like  the  other  girls  hut  with  a  more 
elaborate  ohi  and  headgear.  .  .  .  She 
carries  a  gold  fan  which  she  uses  as  an 
instrument  of  coquetry  towards  mori. 
A  servant  follows  with  a  tray  contain- 
ing three  cups  and  a  tea  pot.  He 
places  them  in  front  of  suki  and  re- 
tires. 
Come  here,  little  one.  The  lord  Mori  Shi- 
jawa  wants  to  speak  to  you. 

KOMURASAKI,  kneeling  in  front  of  mori 
Most  honorable  lord,  your  servant  thanks 

you  for  the  favor  you  bestow  upon  her  by 

your  presence. 

MORI 

I  am  a  great  admirer  of  your  beauty,  and 
I  v/ant  you  to  pour  a  cup  of  tea  for  me. 

[komurasaki  prepares  the  tea  and 
fills  MORi's  cup  in  the  Japanese  cere- 
[39] 


PLAYS     OF     OLD     JAPAN 

monial  manner,  mori  drinks  relig- 
iously and  offers  hack  Ms  own  cup  to 
KOMURASAKi,  wMcli  sJic  fills  and 
drinks. 

SUKI 

Well,  my  lord,  would  you  not  like  to  go  to 
Komurasaki's  room  and  enjoy  a  good  sup- 
per? I  shall  send  you  the  best  singing  girls 
and  the  first  brands  of  rice  wine. 

MORI 

Yes,  I  accept  Komurasaki's  hospitality.  I 
am  convinced  that  I  shall  be  most  happy  with 
her  for  I  feel  my  passion  growing  every  time 
I  look  at  her  loveliness. 

KOMURASAKi,  conccaling  her  face  he- 
hind  the  fan 
I  am  not  worthy  of  your  excellency.  What 
charm  has  a  farmer's  daughter? 

MORI 

You  are  the  most  wonderful  being  I  ever 
set  eyes  upon.  By  the  way,  Suki,  at  what 
amount  do  you  estimate  the  charms  of  Komu- 
rasaki? 

SUKI 

Tonight  will  only  cost  you  ten  ryo.  What 
do  you  think? 

MORI 

You  shall  get  twenty.    Let  us  go. 
[40] 


THE     HONOR     OF     DANZO 

[^As  they  rise,,  danzo  comes  in  and 
shuts  the  door  behind  him.  He  wears 
a  beautiful  costume  of  black  with  gold 
ornaments.  He  has  a  basket  mask  on 
his  face  and  two  swords  in  his  belt. 
Hearing  the  noise,  mori  quickly  puts 
his  own  mask  over  his  face  and  walks 
to  the  right  of  the  stage  while  dajstzo 
walks  to  the  left,  where  both  stand 
perfectly  still.  The  women  are  per- 
plexed but  do  not  move. 

suKi,  pulling  the  sleeve  of  komurasaki 
Come  now. 

MORI 

Do  not  go  away,  women.      Who  is  the 
stranger  in  the  room? 

SUKI 

My  Lord  ...  I  do  not  know.    Will  the 
honorable  stranger  let  us  know  who  he  is? 

DANZO 

I  may,  if  the  samurai  consents  to  sit  here 
with  me,  face  to  face. 

KOMURASAKI,  tO  SUKI 

It  is  Danzo.     What  will  happen! 
[41] 


PLAYS     or    OLD     JAPAN 
SUKI 

Komurasaki  tells  me  that  she  does  not  feel 
well.    Will  my  lord  let  her  go  presently? 

MOEI 

Not  unless  I  go  with  her.  But  why  this 
excitement?  The  presence  of  this  dark-clad 
stranger  seems  to  frighten  you  very  much. 
Come  now.  We  shall  leave  the  room  to  him. 
Remember,  you  are  mine  tonight. 

[He  walks  slowly  to  komurasaki, 
who  does  not  dare  look  up. 

DANZO,  sJmrply 
Wait! 

MORI 

Do  you  dare  address  me? 

DANZO 

I  have  the  right  of  priority — over  Komu- 
rasaki. 

MORI 

Do  I  hear  correctly?  O  Suki,  I  am  in- 
sulted in  your  house.  It  will  cost  you  dearly. 
Speak!  To  whom  does  Komurasaki  belong 
tonight? 

SUKI 

Good  lord.     Oh! 

/  [  42  ] 


THE     HONOR     OF    DANZO 
MORI 

Why  can't  you  speak?  Who  is  this  ter- 
rible mask  that  both  of  you  tremble  like 
doves?     I  am  not  afraid  of  him. 

KOMURASAKI 

I  pray  you.  .  .  . 

MORI 

Komurasaki,  you  belong  to  me.  I  want 
you  more  than  ever.  I  am  accustomed  to 
have  my  own  way  even  if  I  find  a  fearless 
samurai  on  the  path.  I  know  when  one  sees 
my  face  he  loses  much  of  his  courage.  So  it 
shall  be  done,  and  may  my  rival  in  love 
tremble.  (He  removes  Ms  mask  and  shows 
a  horrible  face.  But  danzo  does  not  move. 
MORI  trembles  with  rage.) 

Hey,  are  you  blind?  Do  you  recognize 
Mori  Shi j  a wa  ?  ( He  laughs. )  You  are  lost, 
my  friend.  Let  us  see  your  face  now.  Come, 
come,  you  are  a  proud  one.  But  I  shall  dis- 
patch you  quickly. 

[danzo  removes  his  mask  and  shows 
a  most  unconcerned  face,    mori  steps 
backwards  and  stammers. 
Dan  .  .  ,  zo  .  .  .  the  .  .  .  outlaw! 
[43] 


PLAYS     OF     OLD     JAPAN 
KOMURASAKI 

OH,  Danzo.  .  .  .    What  have  you  dcHie? 

DANZO 

I  have  given  him  a  shock. 

MORI 

Danzo  here !  .  .  .  This  is  the  greatest  luck 
I  have  had  in  years.  {He  pulls  out  a 
whistle.)  This  whistle  will  bring  a  score  of 
soldiers  to  escort  you  to  jail. 

suKi,  staying  Ms  arm 

Please,  most  honorable  lord,  do  not  bring 
such  a  scandal  upon  my  house. 

DANZO 

Women,  leave  us  and  keep  quiet.  We  will 
arrange  our  affairs  alone. 

KOMURASAKI 

Be  careful,  Danzo. 

l^She  drags  the  frightened  suki  out 
through  the  left  door. 

DANZO 

Now,  I  would  like  to  hear  your  whistle. 

MORI 

Why? 

[44] 


THE     HONOK     OF     I)  A  N  Z  O 
DANZO 

Because  I  have  twenty  ronines  outside  who 
will  fight  for  my  life. 

MORI 

So  you  have  set  a  trap  for  me . 

DANZO 

I  have  not,  upon  my  honor. 

MORI 

Then  why  are  you  here? 

DANZO 

I  object  to  your  attentions  to  Komurasaki. 

MORI 

What!     To  a  girl  who  belongs  to  every- 
body !     What  are  you  to  her? 

DANZO 

She  has  been  my  sweetheart  for  years  and 
I  forbid  you  to  meet  her. 

MORI 

This  exception  is  flattering  to  me.    May  I 
ask  the  reason? 

DANZO 

She  shall  not  be  kissed  by  my  bitterest 
enemy. 

MORI 

And  what  if  I  want  her  anyway? 

[45] 


PLAYS     OF     OLD     JAPAN] 
BANZO 

I  shall  be  compelled  to  kill  you. 

MORI 

Enough  of  this  talk.  I  am  a  fool  to  allow 
a  low  class  ronine  to  speak  to  a  samurai.  I 
will  have  you  down  before  me  and  lashed  like 
a  dog. 

DANZO 

We  shall  see.  A  ronine  may  have  as  much 
honor  as  a  Lieutenant  General  of  Police.  If 
you  call  me  a  dog,  I  call  you  a  pig. 

MORI,  bitterly 
A  man  who  makes  his  living  out  of  women 
is  a  dog. 

DANzo,  drawing  his  sword 
Liar.  .  .  .    Draw  your  sword. 

MORI 

You  are  not  worth  a  fight.  .  •  .  Still,  I 
shall  do  it  for  the  fun  of  getting  Komurasaki. 

DANZO 

You  may  not  see  her  again. 

MORI 

I  will  judge  the  valor  of  the  famous  Danzo. 
[jffe  pulls  out  his  sword.    Both  men 
have  dropped  their  upper  garment 
and  begin  to  fight. 
[46] 


THE     HONOR     OF    DANZO 

My  sword  has  never  failed  to  slice  a  man 
from  head  to  foot. 


DANZO 

Look  out  for  yourself,  you  make  too  much 
noise. 

l^The  men  are  evenly  matched,  but 
after  a  while  mori,  seeing  a  pile  of 
cushions  at  the  left  side  of  the  stage, 
pushes  DANzo  on  it  with  the  result 
that  the  latter  misses  a  step  and  loses 
his  sword  through  a  pass  of  Mom.  He, 
however,  recovers  himself,  and  pulls 
out  his  short  sword. 
You  are  playing  unfair,  Mori  Shijawa. 

MORI 

Look  out,  look  out,  you  are  bleeding. 

[They  are  now  on  the  other  side  the  cush- 
ions so  that  MORI  has  his  back  against 
the  left  side  of  the  stage.  The  two 
men  are  at  close  quarter  and  danzo  is 
trying  to  prevent  the  terrible  stroke 
that  is  coming  down  on  him,  when  a 
spear  shoots  through  the  paper  wall 
and  enters  mori's  left  side. 
[47] 


PLAYS     OF     OLD     JAPAN 

Foul  play!     I  am  wounded. 

[He  falls  on  his  knees,  dropping  his 
sword. 

DANZO 

What!    Did  I  cut  you? 

MORI 

You  coward  .  .  .  {showing  the  spear  in 
his  side).  One  of  your  men  from  outside 
stabbed  me. 

DANZO 

It  is  not  true.     See  for  yourself. 

IHe  runs  out  and  drags  in  komura- 

SAKI. 

KOMURASAKI 

Forgive  me,  Danzo.  I  saw  him  do  that 
trick  with  the  cushions.  He  was  going  to  kill 
you.     I  could  not  bear  to  see  it ! 

MORI 

So.  .  .  .  It's  you.  .  .  .  You  have  killed 
me. 

[^He  falls  on  the  floor. 

DANZO,  sadly 

Komurasaki,  you  have  done  me  a  great' 
wrong.     I  have  lost  my  honor  in  this  fight. 
[48] 


THE     HONOR     OF     D  A  N  Z  O 
KOMURASAKI 

Oh!  Why?  Why?  You  could  not  let  your- 
self be  cut  down  like  that.  Come  now.  Let 
us  get  away  from  here.  Nobody  will  see  us. 
Honor !  .  .  .  What  do  we  care  for  honor  if 
we  can  be  happy.  I  have  the  thousand  ryo. 
We  shall  leave  the  country  or  flee  to  the 
mountain  with  the  ronines.  Take  me  away. 
I  want  to  be  your  wife. 

DANZO 

No.  I  cannot  go  anywhere  now.  There  is 
nothing  left  for  me  but  to  obtain  forgiveness 
from  Mori  Shijawa. 

KOMURASAKI 

Leave  him  here.    This  is  our  last  chance. 

DANTZO 

I  do  not  want  you  any  more.  Danzo  the 
ronine  has  never  failed  to  follow  the  rules  of 
honor  in  a  fight,  and  he  must  pay  for  the  dis- 
grace of  which  you  are  the  cause. 

[  KOMURASAKI  weeps. 

MORI 

Water!  water! 

DANzo,  kneeling  beside  mori 
My  lord,  I  beg  your  pardon  for  the  great 
wrong  done  to  you.     It  is  my  fault,  and  I 
[49] 


PLAYS     OE     OLD     JAPAK 

shall  not  be  at  peace  until  you  relieve  me  of 
your  resentment. 

MORI 

Give  me  .  .  .  water.  .  .  . 

DANZO,  pouring  water  from  the  kettle 
and  giving  mori  the  drink 
What  will  you  say? 

MORI 

I  am  going  to  die.  I  feel  it,  and  I  hate 
you.    You  cannot  obtain  pardon  from  me. 

[He  attempts  to  use  the  whistle  hut 
DANZO  prevents  him. 

DANZO 

You  must  forgive  me  or  I  will  not  help  you 
to  die  like  a  samurai. 

MORI,  suffering  intensely 
Will  you  amend  yourself  even  if  I  ask  the 
maximum? 

DANZO 

Even  so. 

MORI 

Danzo,  I  shall  forgive  you  on  one  condi- 
tion, that  you  commit  harakiri  as  soon  as  I 
am  dead. 

KOMURASAKi,  uttering  a  cry 
No.  .  .  .    No.  .  .  .    Not  that! 
[50] 


THE     HONOR     OF    DANZO 

[mori  looks  at  her  with  a  venomous 
eye  and  hisses  horribly. 

DANZo,  after  a  silence 
I  will  do  as  you  say. 

MORI 

Help  me  to  die  now, 

DANZO 

Are  you  strong? 

MORI,  shaking  all  over 
Yes.  ...    I  .  .  .  am  ready. 

[danzo  approaches  mori.  Kneeling 
in  front  of  him  he  suddenly  plucks  the 
spear  from  his  side,  and  as  mori  utters 
a  loud  cry  he  plunges  his  dagger  into 
his  heart,  mori's  head  falls  limply 
and  he  dies,  danzo  places  him  against 
the  wall  in  a  sitting  position  with 
hands  and  legs  crossed.  He  then 
pulls  out  the  dagger,  which  he  care- 
fully wipes  with  the  white  paper  that 
warriors  always  keep  folded  on  their 
chests. 

KOMURASAKI 

Danzo,  Danzo,  are  you  going  to  commit 
suicide?  What  about  me?  .  .  .  Do  you 
forget  Komurasaki? 

[51] 


PLAYS     OF     OLD     JAPAN 

DANZO,  without  looking  at  her 
You  ruined  our  life  when  you  struck  my 
enemy.    A  man  is  a  man  and  does  not  need 
the  help  of  a  woman  in  a  fight.    I  must  now 
regain  my  honor.     Farewell. 

KOMURASAKI 

Pity,  pity,  think  of  me. 

DANZo,  dropping  his  undershirt  so  as 
to  expose  his  breast 
Oh,  Mori  Shijawa,  see  how  serenely  I  take 
my  life. 

\^He  commits  harakiri  by  cutting  him- 
self from  the  right  side  across  the 
stomachy  finishing  with  a  cut  to  the 
heart. 

KOMURASAKI,  horrificdy  with  a  loud  cry 
of  agony,  jumps  up,  and  opening 
the  balcony  yells 
Danzo  is  dead !   Danzo  is  dead ! 

\^She  acts  like  a  mad  woman.  The 
girls  rush  in  with  scared  faces,  while 
on  the  left  side  suki  also  comes  in, 
fainting  at  the  sight. 

THE  CURTAIN  FALLS  QUICKLY 


[52] 


THE  HORNS 


CHARACTERS 

OBA,  A  Rich  Old  Woman 
MOGi,  Oha's  Husband 
OYUCHA,  Mogi's  Daughter  by  a  first  Mar- 
riage 

A  BUDDHIST  PRIEST 
WOMAN  SERVANT 


THE  HORNS 


The  action  takes  place  in  the  country  near 
Osaka. 

Time:    Sixteenth  Century 

Scene  I 

The  stage  represents  the  living  room  of 
MOGi's  family.  As  usual,  the  place  is  en- 
closed by  sliding  doors,  which  lead  on  left  and 
right  into  the  private  apartments,  while  those 
at  the  hack  of  the  stage  open  on  to  a  garden 
in  summer. 

The  right  side  slides  open  and  oba  enters. 
She  is  sixty,  rather  attractive,  and  richly 
dressed,  hut  her  face  is  cold  and  she  never 
smiles. 

OBA,  coming  from  the  right 
Oh!  what  a  cold  morning.  .  .  .  Oyucha 
san  .  .  .  where  is  she?  .  .  .  The  girl  is  ter- 
ribly lazy  .  .  .  (calls)  Soba  .  .  .  Soba  .  .  . 
(a  servant  girl  comes  in)  what  is  the  matter? 
.  .  .  You  ought  to  be  at  work  by  this  time. 
.  .  .    Call  Oyucha  san  at  once  .  .  .  and  be 


PLAYS     OF    OLD     J  A  P  A  K 

quick  about  it  {eait  servant).     I  do  every- 
thing in  the  house. 

IThe  old  woman  goes  about  grum- 
bling in  angry  tones  and  finally  sits 
by  the  ash  box. 

OYUCHA^  coming  in  and  arranging 
her  kimono  about  her 
Do  you  want  me,  Oba  san? 

OBA 

Are  you  not  ashamed  of  yourself?  You 
should  have  been  up  long  ago.  No  wonder 
the  house  is  full  of  dirt  .  .  .  you  must  clean 
it  every  morning  before  sunrise. 

OYUCHA 

It  is  so  early! 

OBA 

Why  .  .  .  it  is  five  o'clock!  Lazy  girl 
.  .  .  you  have  slept  almost  six  hours. 

OYUCHA 

.Well !   I  shall  begin  my  work  presently. 

OBA 

Wait  a  minute.  ...     I  want  to  have  a 
little  talk  with  you.     I  have  been  thinking 
deeply  since  last  evening,  and  I  want  to  know 
your  last  word  in  regard  to  Koriyama. 
[  56  ] 


THE    HORNS 
OYUCHA 

Koriyama  is  a  very  nice  man,  but  I  do  not 
want  him.  ...  I  repeat,  he  shall  never  be 
my  husband. 

OBA 

Wicked  girl.  ...  So  this  is  all  the  en- 
couragement I  get  out  of  you?  Now  listen 
.  .  .  it  is  your  last  chance.  If  you  marry 
Koriyama  I  will  settle  all  my  money  upon 
you  so  that  you  will  become  both  rich  and 
happy.  All  I  ask  of  you  in  return  is  to  be 
allowed  to  live  here  quietly  with  you  all. 

OYUCHA 

And  father? 

DBA 

Your  father  is  a  simpleton.  He  knows 
nothing  except  his  flowers.  He  will  continue 
to  look  after  the  garden.  That  does  not  con- 
cern him. 

OYUCHA 

I  am  his  daughter  and  he  thinks  like  my- 
self that  it  is  better  not  to  marry  Koriyama! 

OBA,  beating  oyucha  over  the  head 

with  her  fan 

You  stupid  girl.  .  .  .    More  stupid  than  a 

frog.  .  .  .    Daughter  of  a  fool.  .  .  .    What 

can  you  do  without  me,  you  and  your  father? 

.  .  .  You  must  marry  the  man  I  have  chosen 

[57] 


PLAYS     OF     OLD     JAPAN 

for  you.    Since  when  have  you  got  the  right 
to  refuse? 

OYUCHA 

You  can  beat  me,  but  I  shall  not  marry 
your  lover. 

OBA,  beside  herself 
Aye  .  .  .  Aye  .  .  .  help  .  .  .  help  .  .  • 
bad  girl  .  .  .  wanton.  ...  I  will  kill  you. 
\^She  grasps  the  teapot  and  hurls  it  at 
OYUCHA,  who  runs  away  yelling  into 
the  arms  of  her  father  who  just  hap- 
pens  to  come  out  of  his  room. 

MOGI 

What  is  all  this  noise  about? 

OBA 

Your  daughter  again  .  .  .  she  insulted  me 
...    I  meant  to  kill  her. 

[oYUCHA  goes  out  sobbing. 

MOGI 

Peace,  peace,  woman.     You  harass  this 
daughter  of  mine. 

OBA  _ 

She  insulted  me  in  a  terrible  way  after  I 
had  been  kind  to  her. 

MOGI 

What  have  you  done  to  be  kind  to  her? 
Did  you  not  beat  her  over  the  head  with  a 
[58] 


THE    HORNS 

broom?  .  .  .  Since  we  were  married  .  .  . 
five  years  ago  ...  I  have  not  yet  seen  a  sun- 
rise without  hearing  you  beating  and  her  cry- 
ing! 

OBA 

Is  it  my  fault  if  she  is  not  good? 

MOGI 

Woman  .  .  .  are  you  very  good  yourself? 

OBA 

Mogi  san  .  .  .  today,  for  the  first  time 
.  .  .  you  address  me  with  angry  words !  .  .  . 
You  laiow  that  I  can  make  you  suffer  for  it. 
What  can  you  do  without  my  money?  Do 
you  know  why  Oyucha  san  makes  all  that 
trouble?  ...  It  is  because  I  want  to  make 
her  my  sole  heiress.  Nice  thanks  I  get  from 
both  of  you!  .  .  . 

MOGI 

Why  do  you  want  to  make  her  your 
heiress? 

OBA 

I  am  getting  old.  It  is  time  for  her  to  be 
married  .  .  .  so.  .  .  .  I  have  made  up  my 
mind  she  shall  marry  our  neighbor  Koriyama, 
the  stone  cutter. 

MOGI 

It  would  be  a  good  idea  if  Koriyama  had 
[59] 


PLAYS     OF     OLD     JAPAN 

not  left  last  night  for  Korea,  where  he  is 
going  to  start  a  business  of  his  own. 

OBA 

What  do  you  mean?  .  .  .  Are  you  out  of 
your  senses?  .  .  .  He  was  here  yesterday 
afternoon! 

MOGi,  showing  her  a  folded  paper 
He  has  gone.  .   .   .     Here  is  a  message  I 
found  under  the  door. 

OBA 

Read  it  to  me. 

MOGi^  putting  on  large  spectacles  and 
reading 
To  Mogi,  wife  and  daughter:  My  depar- 
ture is  necessary,  I  shall  remain  away  a  very 
long  time.  Farewell,  Koriyama.  (Looking 
at  OBA  over  his  spectacles.)  I  suppose  you 
will  regret  him. 

OBA 

The  villain.  .  .  .  He  has  done  me  wrong. 
...  I  loaned  him  money  several  times 
which  he  has  never  repaid.  .  .  .  Now  this 
money  will  help  him  to  start  in  business. 

MOGI 

I  am  glad  he  has  gone  away.     There  has 
been  much  talking  about  you  and  him  in  the 
country.    A  man  of  twentv  calling  so  often 
[60]    ' 


THE    HORNS 

on  a  woman  forty  years  older,  not  even  re- 
lated to  him,  makes  people  think  evil  of  such 
meetings.  You  have  given  him  many  pres- 
ents, money  and  other  things,  and  now,  he 
has  made  a  fool  of  you. 

OBA 

Dear  husband  ...  do  not  believe  town 
gossip.  I  have  given  him  presents  hoping  to 
interest  him  in  Oyucha  san,  but  the  stupid 
girl  never  looked  at  him. 

MOGI 

Hum  ...  I  am  afraid  you  wanted  him  to 
marry  Oyucha  san  in  order  to  prevent  his 
rimning  away  from  you.  However,  it  is  too 
late  now  ...  he  has  departed  of  his  own 
accord 

DBA 

You  have  a  wicked  mind,  almost  as  wicked 
as  your  daughter's.  All  your  interests  in  life 
are  gossip  and  growing  turnips.  Go  to  the 
garden,  poor  dreamer,  and  see  whether  the 
fishes  in  the  pond  are  learning  to  swim. 

MOGi,  shrugging  Ms  shoulders 
I  am  sorry  you  have  so  little  dignity !   {He 
removes  the  sliding  doors  and  the^  sunshine 
enters.)     I  am  going  to  the  market  through 
the  wooded  road. 

[Eant 
[61] 


PLAYS     OF     OLD     J  A  P  A  IsT 

OBA,  calling  out  to  mogi 
You  had  better  come  back  when  the  tea  is 
ready.  (She  claps  her  hands  sharply.) 
Oyucha  san!  (Muttering)  Koriyama  is 
gone  .  .  .  the  beast  .  .  .  somebody  will  suf- 
fer for  it. 

OYUCHA,  entering 
Here  I  am,  mother  .  .  . 

OBA 

Here  you  are.  .  .  .    Here  you  are  .  .  . 

monster  .  .  .  why  do  you  always  cry  when 
your  father  is  here?  .  .  .  Just  to  have  him 
scold  me?  .  .  .  Are  you  not  big  enough  to 
take  care  of  yourself? 

IShe  pinches  her. 

OYtJCHA 

Oh!  please  .  .  .  O!  .  .  .  please  ..  . 

OBA 

Your  father  is  out  .  .  .  call  him  .  .  .  will 
you  .  .  .  and  we  shall  see  what  he  says  .  .  . 
make  the  tea  now  .  .  .  hurry  up.  (oyucha 
quickly  prepares  the  tea  without  saying  a 
word.)  Some  good  news  has  come  to  me 
since  you  went  out.  Koriyama  has  departed 
to  Korea  never  to  return.  Hey!  what  do  you 
say  to  that  .  .  .  what  do  you  say? 
[62] 


I  am  glad 


THE    HORNS 
OYUCHA 


OBA 

Glad  .  .  .  you  black  sheep  .  .  .  glad,  be- 
cause you  know  I  don't  like  it.  Hey!  Re- 
peat that  you  are  glad. 

{She  spills  the  boiling  water  from  the 
teapot  over  oyucha's  hands. 

OYUCHA,  badly  scalded  but  suppress- 
ing her  cries 
O,  mother!  .  .  .  you  have  scalded  ...  my 
hands.  .  .  .    How  I  suffer! 

OBA,  chuckling 
Call  your  father;  call  your  father. 

OYUCHA 

Oh!  This  is  too  much  .  .  .  look  at  them 
...  my  hands.  ...  Idie  .  .  .  please  give 
me  oil. 

OBA 

Oil  .  .  .  oil  .  .  .  for  your  hands  .  .  . 
here's  some  ashes,  some  hot  ashes  .  .  .  that 
will  cure  you. 

{^She  throws  the  contents  of  the  ash 

box  over  oyucha's  hands. 

OYUCHA,  yelling  wildly 
Oh!  Oh!  This  is  too  much. 
[63] 


PLAYS     OF     OLD     JAPAN 

l^She  gets  up  in  agony  and  inadver- 
*     tently  upsets  the  teapot  over  oba's 
knees. 

OBA,  crying  in  turn 
Aye!  Aye!  My  leg  .  .  .  you  have  scalded 
me  .  .  .  Aye !  You  dared  scald  me.  ...  I 
will  kill  you  .  .  .  you  can't  escape.  {Goes 
to  the  wall  where  some  garden  sickles  are 
hanging  and  selects  a  large  one.)  No  use  for 
you  to  run  away  ...  I  will  get  you.  {She 
runs  after  oyucha,  who,  being  much  young- 
er y  has  no  trouble  in  evading  the  old  bent 
woman;  the  latter  with  white  hair  hanging 
around  her  face  looks  like  a  witch.) 

OYUCHA 

Oh!    Please  .  .  .  please  ... 

OBA 

I'll  disembowel  you  with  my  own  hands. 

OYUCHA,  running  out  into  the  garden 
Father  .  .  .  father  .  .  . 

OBA,  following  her 
I  am  not  afraid  of  your  father  .   .   .  I'll 
get  you  .  .  . 

CURTAIN 

[  64  ] 


THE    HORNS 


Scene    II 


The  curtain  itself  represents  a  forest.  A 
small  house  is  pushed  from  the  right  wing. 
It  is  a  sort  of  shrine  like  one  of  those  seen  on 
many  public  roads  in  Japan.  The  front  is 
closed  and  there  is  a  door  on  each  side.  The 
shrine  is  dedicated  to  the  Goddess  of  Mercy 
and  it  is  so  small  that  only  one  person  at  a 
time  can  pray  inside. 

OYUCHA^  running  breathlessly  from 
the  left 
Father,  father  {she  falls  down)^  I  am  so 
tired  .  .  .  this  woman  has  no  pity  .  .  .  she  is 
so  old,  yet  stronger  than  I  am  ...  I  hope 
she  lost  trace  of  me  •.  .  .  my  hands  hurt  so 
much  .  .  .  what  shall  I  do?  .  .  .  Where  is 
father?  ...  I  am  lost  in  the  woods.  {She 
sees  the  shrine.)  There  .  .  .  the  shrine  of 
the  Goddess  of  Mercy  ...  I  will  ask  her  to 
take  care  of  me.  {She  gets  up  painfully.) 
I  must  have  been  running  a  long  time  .  .  . 
I  can  hardly  walk.  {She  goes  into  the  shrine 
and  almost  at  the  same  time  oba  appears  at 
the  lefty  looking  more  wicked  and  bent  than 
before.) 

[65] 


I»LAYS     or     OLD     JAPAN 
OBA 

Where  is  she?  Where  is  she?  She  leads 
me  on  a  long  journey,  but  I  shall  find  her. 
She  cannot  be  very  far  ...  I  am  not  tired 
yet.  ...  Oh!  I  hate  her  ...  I  hate  her 
more  than  I  ever  did.  {The  humming  of 
oyucha's  prayer  is  heard  from  the  shrine.) 
Why  .  .  .  what  is  that?  {Smiling  horribly 
as  she  realizes  that  oyucha  is  in  the  shrine,) 
She  is  there!  ...  I  knew  I  was  on  the  right 
track.  .  .  .  INTow  she  can't  escape.  {She 
walks  stealthily  to  the  shrine  and  arrives  at 
the  door.)  I've  got  you  now.  {She  rushes 
in,  hut  almost  at  the  same  time  oyucha  runs 
wildly  out  on  the  other  side,  turns  around  and 
runs  away  to  the  left,  oba  comes  out  in  turn, 
hut  a  strange  thing  has  happened.  Since  she 
entered  the  shrine  a  pair  of  ugly  horns  have 
sprung  out  of  her  head,  oyucha,  while  run- 
ning, looks  hehind  and  stops  short  at  the 
sights)  At!  Ah!  You  give  up  .  .  .  you 
give  up.  .  .  .  This  sickle  here  will  cut  you 
up  nicely. 

OYUCHA,  pointing  at  the  horns 
You  .  .  .  You  .  .  . 

OBA 

Me  .  .  .  yes  .  .  .  it's  me  .  .  .  you  ought 
to  know.  ...     Hey!    what  do  you  mean? 
[66] 


THE    HORNS 

.  .  .  [She  comes  to  oyucha  with  raised 
hand  but  stops  surprised  by  the  startled  look 
on  the  girVs  face.)  What  is  this!  {She 
touches  her  head;  feels  a  horn,  then  another. 
She  drops  the  sickle  and  feels  with  both 
hands.)  Aye  .  .  .  Aye  .  .  .  help.  {She 
kneels  down  and  tries  in  vain  to  pull  out  the 
ugly  horns.) 

OYUCHA,  trembling 
You  are  a  witch.  .   .   .    The  Buddha  has 
punished  you  as  he  punishes  the  heartless 
people. 

DBA 

Daibutsu!^  .  .  .  Dai'butsu!  .  .  .  Pity, 
pity.  .  .  .  Oh!  .  .  .  these  horns,  these  horns 
.  .  .  take  them  away,  Oyucha  san;  dear 
Ojrucha  san,  pull  them  out. 

OYUCHA 

You  will  not  hurt  me?  .  .  . 

OBA,  clinging  to  her 
No  ...  no  ...  do  not  be  afraid.  ...    I 
will  be  good  .   .    .  but  pull  these  horns  out. 
.  .  .  They  hurt  my  head  terribly. 

OYUCHA 

I  will  try,  my  good  mother  ...  I  will  try. 
IShe  tries,  and  then  both  try  until 

1  Great  Buddha! 

[67] 


PLAYS     OF     OLD     JAPAN 

oba's  head  is  pulled  to  and  fro,  hut 
they  do  not  succeed. 

OYUCHA,  desperate,  cries 

Poor  mother  ...  I  cannot;  they  have 
grown  inside. 

OBA,  heating  oyucha 
Wicked  girl.  .  .  .  It  is  all  your  fault.  .  .  . 
I  am  disfigured  for  life  ...  a  monster  .  .  . 
on  account  of  you.    {She  prays  again.)    Dai 
butsu !    Dai  butsu ! 

MOGi,    entering   from    the   right   side, 

hare-legged,    carrying    a    hasket    of 

mushrooins 

There  is  much  noise  in  this  deserted  place. 

(Stops  startled.)     What  do  I  see,  my  wife 

and  daughter!     These  horns!     Why  .   .    . 

woman  .  .  .  what  have  you  done? 

OBA 

Nothing,  my  good  husband.  .  .  .  We 
went  into  the  shrine  and  these  awful  things 
grew  on  my  head  instantly !    It  is  terrible ! 

MOGI 

I  know.  You  can't  go  into  the  shrine  of  the 

Goddess  of  Mercy  with  an  evil  eye.    When 

you  went  there  both  your  eyes  must  have  been 

full  of  hell's  fire  to  justify  such  punishment! 

[  68  ] 


THE    HORNS 

OBA,  still  pulling  on  the  horns 
Remove  them,  Mogi  san ! 

MOGI 

The  Buddha  who  spoiled  your  face  is  prob- 
ably glad  to  laiow  that  young  men  will  look 
at  you  with  horror ;  even  with  all  your  money. 

OBA,  choking  with  rage 
Oh!    Oh! 

MOGI 

Let  us  go  home  and  call  a  priest  who  shall 
pray  and  light  the  incantation  fires  so  as  to 
drive  away  the  evil  spirits. 

OBA 

What  will  people  say  when  they  see  me! 

OYUCHA 

Come,  mother  ...  we  shall  do  our  best  to 
shield  you. 

[mogi  empties  the  basket  and  places 
it  on  the  head  of  his  wife,  while 
OYUCHA,  taking  her  stepmother  by 
the  handy  leads  her  out.  mogi  stops  to 
sigh  deeply  and  follows  them. 

CURTAIN 


[69] 


PLAYS    01*    OLD    JAPAN. 


Scene  III 

Several  months  later.  The  curtain  is  raised 
showing  the  room  of  the  first  scene  with  all 
doors  tightly  closed,  mogi  is  seated  in  the 
centre  of  the  room  with  a  Buddhist  priest 
dressed  in  white. 

PRIEST 

What  does  the  doctor  say  about  her? 

MOGI 

He  has  given  up  hope.  She  is  sinking 
every  day.  Her  vitals  are  worked  upon  by 
some  unknown  disease.  .  .  .  She  is  so  weak 
that  she  can  hardly  walk,  and  she  sleeps  most 
of  the  time. 

PRIEST 

Very  strange.  Neither  religion  nor  science 
are  of  any  avail ! 

MOGI 

Yes,  it  is  so.  In  vain  you  have  burned 
sacred  oils  .  .  .  repeated  over  and  over  your 
litany  and  called  to  your  aid  all  the  Buddhas 
past  and  present  .  .  .  they  are  deaf  .  .  . 
and  the  horns  stick  more  than  ever  .  .  .  only 
they  have  become  heavier. 
[70] 


THE    HORNS 
PRIEST 

Well  .  .  .  what  shall  we  do? 

MOGI 

As  usual  •  .  .  make  your  incantations  .  .  . 
it  does  her  good  .  .  .  and  almost  always 
soothes  her  heart. 

[^The  PRIEST  arranges  a  kind  of  stove 
on  which  he  will  make  a  high  fire  later. 

OYUCHA^  entering  from  the  room  on 
the  left 
Father  ...  I  think  Oba  san  is  very  sick, 
.   .   .     She  whispered  your  name  and  prob- 
ably wants  to  see  you. 

MOGI 

Bring  her  in  .  .  .  the  priest  will  comfort 
her. 

[Eocit  OYUCHA.  MOGI  arranges  some 
kind  of  bed  with  mattresses  and  blank- 
ets taken  out  of  a  closet.  Presently 
OYUCHA  and  a  woman  servant  sup- 
porting OBA  enter  the  room,  oba  has 
become  very  old  and  feeble.  With 
horns  on  her  head  she  is  a  frightful 
sight.  MOGI  and  the  priest  look  at 
her  pitifully,  oyucha  places  her  ten- 
derly in  bed  so  that  she  faces  the  audi- 
ence.   When  she  is  comfortable^  with 

[71] 


PLAYS     OF     OLD     JAPAN 

a  look  of  scorn,  the  old  woman  re- 
pulses OYUCHA  sharply. 

Quiet,  woman,  quiet.  The  poor  girl  is  full 
of  kindness  for  you.  Do  you  realize  that  for 
seven  months  she  has  been  at  your  bedside 
practically  all  the  time,  helping  you,  atten- 
tive to  all  your  desires?  She  has  been  better 
than  ever  to  you  and  it  is  saying  much.  Why 
...  a  heart  of  stone  would  have  been  touched 
by  such  devotion.  Still  you  persist  in  hating 
her.  No  wonder  then  that  the  Buddha  is 
angry! 

[oBA,  suffering  and  moaning ,  begs  for 
water,  but  the  servant  is  so  frightened 
by  the  horns  tlmt  her  hands  tremble  as 
she  raises  the  cup  to  oba's  lips. 
OYUCHA  takes  the  cup  from  the  ser- 
vant's hands  and  very  tenderly  helps 
her  mother  to  drink,  oba  does  not 
thank  her  stepdaughter. 

PRIEST 

Shall  I  begin,  Mogi  san? 

MOGI 

Pray  for  us,  please. 

[The  PRIEST  lights  the  fire  and  flames 
[72] 


THE    HORNS 

mount  high  in  the  air.  During  the  m- 
cantation  he  recites  a  litany^,  rubbing 
a  large  rosary  between  the  palms  of 
his  hands,  oba  suffers  intensely,  ut- 
tering long  and  low  moans,  oyucha 
hands  her  a  rosary  and  she  rubs  it  con- 
vuhively.  Big  drops  of  perspiration 
pour  from  her  face,  which  oyucha 
wipes  constantly.  The  servant,  avert- 
ing her  face,  kneels  near  the  door,  and 
MOGi,  hands  on  his  knees,  with  bent 
head,  is  absorbed  in  deep  thought. 

OBA 

Am  I  going  to  die?  .  .  .  Ah  .  .  .  Ah 
.  .  ,  Am  I  going  to  die?  .  .  .  Ah  .  .  . 
Ah  .  .  .  with  horns?  No  ...  no  ...  no 
.  .  .  I  cannot. 

OYUCHA 

You  shall  not  die  .  .  .  dear  mother.  .  .  . 
We  will  cure  you.  .  .  .  We  will  pray  for 
you  so  much  that  the  horns  will  disappear. 
Courage,  mother,  courage.  .  .  . 

OBA 

I  am  a  bad  woman.  .  .  .  Ah  .  .  .  Ah  .  .  . 
I  have  no  heart.  .  .  .  Ah  .  .  .  Ah  ...  I 
hate  everybody.  ...  I  hate  myself.  ...  I 
cannot  be  pardoned. 

[73] 


PLAYS     OF     OLD     JAPAN 
OYUCHA 

Yes  .  .  .  you  can;  you  have  a  good  heart 
...  if  you  want.  Let  us  care  for  you  and 
everything  will  be  all  right.  Just  let  us  care 
for  you. 

MOGi,  aside 

She  is  the  daughter  of  my  heart. 

OBA,  rubbing  the  rosary  convulsively 
I  am  dying.  .  .  .  Ah  .  .  .  Ah  ...  I  am 
sure.  ...  I  can  see  something  like  a  large 
hole  in  front  of  me.  .  .  .  Ah  .  .  .  Ah  .  .  . 
Can  one  die  with  horns  like  these  .  .  .  like  a 
beast? 

[She  cries  and  saliva  drips  from  her 
mouth. 

OYUCHA 

Mother  .  .  .  mother  .  .  .  you  cry  ...  it 
is  good.    We  will  comfort  you. 

[She  wipes  her  stepmother's  face. 

OBA 

You  are  not  afraid  .  .  .  you  still  care  for 
me.  .  .  .  Ah  .  .  .  Ah  .  .  .  your  heart  is  so 
tender  ...  I  am  ashamed  .  .  . 

OYUCHA 

No  ...  no  ...  am  I  not  your  faithful 
daughter? 

[74] 


THE    HORNS 
OBA 

Oh!  I  know  ...  I  have  been  cruel  to  you 
.  .  .  poor  child.  Ah  .  .  .  Ah  .  .  .  worse 
than  cruel  .  .  .  criminal  .  .  .  can  you  for- 
give? .  .  .  Ah  .  .  .  Ah  .  .  .  and  still  .  •  . 
after  all,  you  still  love  and  care  for  me! 

OYUCHA 

Yes,  mother  ...  I  will  always  love  you. 

OBA,  crying  pitifully 
Oyucha  ...  I  want  to  take  you  in  my 
arms,  once.  .  .  . 

[They  all  look  surprised.     The  fire 
dies  out. 

OYUCHA 

■You  .  .  .  mother.  .  .  . 

OBA 

No  .  •  .  I  cannot  ask  such  a  thing.  .  .  . 
Ah  .  .  .  Ah  ...  I  am  bad  .  .  .  and  ugly. 
.  .  .  Ah  .  .  .  Ah  .  .  .  you  are  afraid  of 
me.  .  .  . 

OYUCHA 

Oh!  mother,  no,  I  am  not.  .  .  . 

[She  throws  herself  into  oba*s  arms, 
and  the  old  woman,  feeling  some  ten- 
derness for  the  child  she  so  long  de- 
spised, caresses  her  hair  gently  while 
[75] 


PLAYS     or     OLD     JAPAN 

a  faint  smile  lingers  on  her  lips.  Sud- 
denly the  horns,  released  like  magic 
from  the  woman's  head,  roll  on  the 
floor. 

PRIEST 

A  miracle! 

[mogi  and  the  servant,  startled,  get 
up  hurriedly,    oba,  realizing  what  has 
happened,  feels  her  hare  head  with 
trembling    hands,    and    a    beautiful 
smile,  a  smile  from  the  heart,  illumines 
her  face.    Her  eyes  seem  as  if  seeing 
some  vision  of  gladness  ahead,  as  she 
sinks  on  her  bed  to  pass  away  quietly. 
All  kneel  with  bent  heads,  while  the 
PRIEST  says: 
And  Buddha  told  the  learned  men:  "I  say- 
to  those  sitting  near  me  because  they  were 
bom  to  be  good,  that  a  little  kindness  in  the 
heart  of  the  wicked  born  brings  him  even 
nearer  to  me." 

CURTAIN 


[76] 


THE  HANDS  IN  THE  BOX 


CHARACTERS 


KOGAMORi,  A  Dissolute  State  Minister 
SHiJiwA,  His  Counsellor 
TOYO,  A  Beautiful  Dancer 
MiCHi^  A  Singer 

ASA 

XIHIYO 

MISAO 

KAMEYO 

TAMARYO 

KOME 

SADA 

QRINO 

THE  WIFE  OF  KOGAMORI 

TWO  CHILDREN 

WOMEN  SERVANTS 

SAMURAI,  GUARDS  AT  THE  PALACE 


Geisha  Girls 


THE  HANDS  IN  THE  BOX 


The  scene  is  laid  in  the  reception  room  of 
KOGAMORi's  Palace  in  Kyoto. 

Time:    Sixteenth  Century 

The  stage  represents  a  square  room  deco- 
rated with  golden  peonies,  and  lighted  by  six 
large  paper  lamps.  A  door  at  the  right  leads 
inside  the  Palace.  A  large  hack  door  leads 
into  the  garden.  Both  are  closed.  The  flow- 
ery way  at  the  left  side  of  the  audience  is 
covered  with  rose  leaves. 

As  the  curtain  goes  up,  kogamori  is  discov- 
ered sitting  on  a  three-legged  stool  in  the 
centre  of  the  room,  shijiwa  is  seated  at  his 
right  on  a  lower  stool.  Both  of  them  are 
finely  dressed  in  flowing  robes  and  long  pan- 
taloons of  red  and  black.  Several  samurai 
are  seated  on  the  floor  near  the  right  hand 
door.    They  wear  armor  of  red  and  black. 

KOGAMORI,  fanning  himself  with  a  black 
fan  on  which  is  painted  a  red  sun 
Shijiwa,  have  you  provided  for  my  enter- 
tainment?   Have  you  brought  the  ten  most 
beautiful  geishas  of  Japan  here  tonight? 
[79] 


PLAYS     OF     OLD     JAPAN 
SHIJIWA 

I  have  .  .  .  kind  lord.  They  are  outside 
awaiting  your  pleasure. 

KOGAMORI 

Let  us  not  lose  any  time.  I  am  anxious  to 
gaze  upon  these  beauties!  Send  the  samurai 
to  duty  into  the  Palace,  and  let  no  one  dis- 
turb us. 

SHIJIWA,  rising  and  speaking  to  the 
samurai 
The  lord  Kogamori  bids  you  go  out  and 
guard  faithfully  for  the  peace  of  all. 

\^The  samurai  J  bowing  very  low,  go 
out  through  the  right  door,  which  they 
close  behind  them. 

SHIJIWA 

May  I  call  the  geishas? 

KOGAMORI 

Call  them,  one  after  another.  ... 

SHIJIWA,  beating  two  short  split  bam- 
boos against  each  other 
The  most  beautiful  Asa  from  Kagoshina. 
{^A  beautiful  girl  in  light-blue  kimono 
and  dark-blue  obi  appears  on  the 
flowery  way  and  comes  slowly  toward 
the  stage. 

[80] 


THE    HANDS    IN    THE    BOX 
KOGAMORI 

So  she  is;  and  tell  me,  Asako,  are  you  a 

good  girl? 

[asa,   prostrated   before   kogamori, 
does  not  dare  look  at  him. 
Come  and  tell  me  in  the  ear  what  you  can 

do  to  please  a  man.  .  .  . 

[asa  hesitateSy  hut  seeing  that  koga- 
MORi  bends  his  head  so  as  to  listen  to 
her  she  comes  near  him,  opens  her  fan 
and,  hiding  her  face  behind  it,  whis- 
pers into  his  ear. 

KOGAMORI,  disdainfully,  to  shijiwa 

You  should  have  left  this  baby  in  the  arms 

of  her  mother  ...  let  me  see  another  one. 

[asa  walks  sadly  to  the  back  of  the 

stage  and  kneels  down  at  the  extreme 

left  so  as  to  give  room  to  the  other  girls. 

SHiJiwA,  beating  the  bamboo  sticks. 
The  marvellous  Chiyo  from  Nagasaki. 
{^A  girl  in  brown  kimono  and  red  obi 
appears 

KOGAMORI 

What  a  plump  little  fairy!  Come,  Chiyo, 
tell  me  in  the  ear  how  you  would  love  me  if  I 
asked  you  to. 

[The  previous  scene  between  asa  and 
KOGAMORI  is  repeated.     A  third  and 
[81] 


PLAYS     OF     OLD     JAPAN 

a  fourth  geisha  are  introduced  in  like 
manner  and  the  same  thirig  happens, 
with  minor  differences  in  the  manner 
of  acting,  according  to  the  mood  and 
character  of  the  girls. 

KOGAMORI 

You  are  stupid,  Shijiwa,  to  bring  such 
brainless  creatures  here.  Let  me  see  the  next 
one.  .  .  . 

[CHIYO  walks  away  and  kneels  down 

at  the  right  of  asa. 

SHIJIWA,  clapping  the  bamboo  sticks 
The  sweet  Misao  from  Sendai. 

[misao  in  white  kimono  and  cream  obi 
appears 

KOGAMORI 

That  small  thing  must  be  less  than  ten 
years  old.  .  .  .  However,  I  will  lend  an 
eager  ear  to  your  berry  mouth,  my  child. 
Tell  me  why  you  would  be  mine. 

[Similar  action  as  before  with  same 
result. 
To  the  wall,  my  wingless  angel  .  .  .  great 
is  my  deception.     Next.  .  .  . 

SHIJIWA,  as  KAMEYO  appears  in  green 
kimono  and  black  obi 
The  wonderful  Kameyo  from  Hoygo. 
[82] 


THE    HANDS    IN    THE    BOX 
KOGAMORI 

Tall  and  willowy.  .  .  .  Very  pleasing  to 
the  eye.  Tell  me,  Kameyo  .  .  .  how  many 
kisses  do  you  know? 

\_Similar  scene  as  above. 

Is  that  all?  .  .  .  There  is  room  for  im- 
provement, and  I  think  .  .  .  you  may  be  a 
fair  pupil  .  .  .  but  .  .  .  go.  .  .  .     Shijiwa. 

SHiJiwA,  as  TAMARYO  appears  in  grey 
kimono 
The  glorious  Tamaryo  from  Tomioka. 

KOGAMORI 

She  is  glorious.  Listen,  Tamaryo  ...  I 
want  to  hear  from  you  what  particular  caress 
you  will  offer  me  should  I  ask  you  to  live  in 
the  Palace.  .  .  .  {Same  scene  as  before ^  but 
this  time  kogamori  pushes  the  girl  aside.) 
I  am  disgusted  .  .  .  positively  disgusted. 
These  women  know  less  than  a  newborn 
monkey.  Proceed  .  .  .  Shijiwa  .  .  .  pro- 
ceed. .  .  . 

[shijiwa  announces  the  girls  as  they 
come  in,  but  they  go  directly  where 
the  other  girls  are  already  kneeling. 
KOGAMORI  now  husics  himself  with 
filling  his  pipe  and  does  not  even  look 
at  them. 

[83] 


PLAYS     OF     OLD     JAPAN 
SHIJIWA 

The  pretty  Kome  from  Kyoto    {in  red 
kimono,  lilac  obi) . 

The  joyful  Sada  from  Osaka  {in  purple 
kimono,  gold  obi) . 

The  nightingale  Michi  from  Nikko    {in 
dark  blue  kimono,  silver  obi) . 

KOGAMORi,  lifting  his  head 
Michi  ...  a  nightingale  ...  I  will  take 
a  chance  and  ask  you  to  let  me  hear  the  song 
you  know  best. 

MICHI  sings 
Tsuyu  no  hinuma  no  asagao  no 
Terasu  hukage  no  tsure  naki  ni  aware! 
Hito  mura  same  no 
Hara,  hara,  to  Furehashi/ 

KOGAMORI 

Your  song  to  the  morning  glory  is  dear  to 
my  heart.     I  shall  remember.  .  .  . 

SHIJIWA,  as  ORiNO  appears  in  orange 
kimono,  green  obi 
The  handsome  Orino  from  Morioka. 

KOGAMORI 

This  is  a  color  I  am  very  fond  of,  but  I 
have  not  seen  a  face  out  of  the  ordinary! 

1  "Asagao,"  a  well-known  song,  the  translation  of  which 
is:  O  morning  glory,  your  life  is  sucked  by  the  dew  of  the 
dawn.  Then  come  the  sun  rays  that  drink  the  dew.  I  pity 
you.    Let  a  cloud  come  so  you  shall  live  longer. 

[84] 


THE    HANDS    IN    THE    BOX 
SHIJIWA 

I  have  kept  her  for  the  last,  my  lord  .  .  . 
allow  your  eyes  to  gaze  upon  the  magnificent 
Toyo  from  Yeddo. 

lA   wonderful  girl,  toyo,   appears 

dressed  all  in  rose. 

KOGAMORI 

She  is  indeed  a  walking  cherry  blossom. 
Come  near  me,  Toyo,  for  I  want  to  ask  you 
a  question.  What  would  you  do  to  become 
my  favorite  geisha? 

[toyo  dances  a  characteristic  step. 

KOGAMORI,  greatly  pleased 

I  have  at  last  found  an  intelligent  and 
pretty  woman.  I  want  her  to  remain  in  the 
Palace  as  long  as  she  likes  .  .  .  and  now  give 
me  some  wine  and  more  dances. 

\^All  the  girls  get  up  and  coming  to 
the  front  of  the  stage  join  toyo  in  the 
dance  of  the  fans.  Meantime  shijiwa 
has  gone  to  the  right  door  and  given 
instructions  to  some  one  outside. 
Several  women  servants  bring  bottles 
of  sake  and  gold  cups.  One  of  them 
removes  the  three-legged  stools  so 
that  KOGAMORI  and  shijiwa  sit  com- 
fortably on  the  floor,  kogamori 
[85] 


PLAYS     OF     OLD     JAPAN 

drinks  heavily  and  by  the  time  the 
dance  is  over  he  is  rather  excited. 

KOGAMORI 

That  is  not  enough;  you  must  now  show 
me  the  Temptation  dance.  .  •  . 

SHIJIWA 

My  lord  ...  do  you  not  think  it  better  to 
send  them  away.  .  .  . 

KOGAMORI 

Who  asks  for  your  advice,  Shijiwa?  .   .   . 

Here,  drink  a  cup  of  sake  .   .   .  it  is  God's 

creation. 

[sHiJiwA  receives  reverently  between 
his  hands  the  cup  that  kogamori  fills 
up  to  the  brim. 

SHIJIWA 

To  your  health  and  glory,  my  lord.  .  .  . 
[Both  drink  ceremoniously.  The 
geishas  begin  another  dance  in  which 
at  each  different  figure  they  remove 
part  of  their  garments.  Each  one  of 
the  dancers  in  turn  comes  in  front  of 
KOGAMORI  and  tempts  him  by  some 
lascivious  posture  until  he  tries  to  kiss 
her.  Suddenly  the  right  door  is 
opened  quickly  and  kogamori^s  wife 
enters  dressed  in  a  resplendent  cos- 
[86] 


THE    HANDS    IN    THE    BOX 

tume  of  red  and  black.  She  walks 
majestically y  followed  by  her  children, 
a  boy,  a  girl,  and  four  servants  also 
richly  dressed.  Everybody  comes  to 
a  sudden  standstill,  and  kogamori 
grabs  his  fan  with  rage,  shijiwa 
and  all  the  girls  with  bent  heads  do 
not  dare  to  look  at  kogamori^s  wife. 
But  without  paying  the  least  atten- 
tion to  the  party  she  walks  out  through 
the  flowery  way  in  a  dignified  m.an- 
ner. 

KOGAMORI,  beside  himself 
Whoever  dared  let  my  wife  and  children 
come  into  this  room  notwithstanding  my  ex- 
press orders  will  be  punished  without  delay. 
.  .  .  Shijiwa  ...  I  want  all  the  men  in 
charge  of  this  door  arrested  and  beheaded 
...  do  you  hear? 

SHIJIWA 

Yes,  my  lord. 

l^Shijiwa  goes  out. 

KOGAMORI,  drowning  his  anger  in  sev* 
eral  cups  of  wine 
On  with  the  dance. 

[The  geishas  start  the  dance  again. 
After  a  while  kogamori  takes  hold  of 
TOYO  and  places  her  on  his  knees.  She 
[87] 


PLAYS     OF     OLD     JAPAN 

tries  to  get  away  hut  he  holds  her 
tight  and  laughs. 

TOYO 

Please,  my  lord,  let  me  go.  .  .  . 

KOGAMOm 

No,  no,  my  little  bird,  I  want  you  .   .   . 
you  are  mine.  .  .  . 

THE  GEISHAS,  Stopping  in  their  dance 
Let  her  go,  my  lord. 

KOGAMORi,  angry 
What!   .    .    .     Out  with  you  all.   .    .    • 
Enough  nonsense  around.  .  .  .    Away  from 
here  quick  .  .  .  or  .  .  .  you  will  repent. 

[i?e  makes  a  threatening  gesture  and 
the  geishas  run  away,  crowding 
through  the  door  and  uttering  fright- 
ened cries. 

KOGAMOM,  his  arms  around  toyo^s  waist 
Can  I  do  as  I  please?  .   .   .     Hey!  .   .   . 
Toyo  .  .  .  will  you  be  my  little  pet? 

TOYO 

My  lord  .   .   .  you  have  drunk  too  much 
.  .  .  you  ought  to  rest  yourself. 

KOGAMORI,  seizing  toyo  by  the  hair  in 
excitement 
I  am  drunk,  hey?     Not  good  enough  to 
kiss  this  pretty  mouth?    How  would  you  like 
[88] 


THE    HANDS    IN    THE    BOX 

to  be  whipped  until  blood  runs  out  of  your 
body?  {He  kisses  her  and  then  throws  her 
brutally  from  him.)  Come  back,  come  back, 
do  not  run  away  so  soon.  ...  I  want  to  see 
your  face  ...  do  not  cry.  (toyo  sobs  hys- 
terically on  the  floor  and  does  not  move.) 
Come,  I  say. 

^Thoroughly  frightened,  toyo  comes 
near  him.  He  seizes  her  again  by  the 
hair  and  brings  her  face  near  his  own. 
In  her  fear,  however,  toyo  repulses 
his  face  with  her  hands  and  manages 
to  free  herself.  Enraged  at  the  sacri- 
lege of  a  geisha's  hands  on  a  state 
minister,  he  jumps  up  and  pursues 
her,  when,  suddenly,  his  wife,  children 
and  women  servants  appear  on  the 
flowery  way  coming  towards  the 
stage,  kogamori  steadies  himself  and 
sits  down  again,  very  red  in  the  face. 
The  geisha  has  knelt  down  crying 
silently,  kogamori^s  wife  and  her 
company  walk  in  without  noticing 
him. 

KOGAMORi,  trembling  with  rage 
You  have  made  a  fool  of  me  .  .  .no  woman 
has  refused  my  love  .    .    .  you  alone  .    .    . 
worse  yet  .    .    .  my  children  saw  me  in  dis- 
grace.    You  shall  dearly  pay  for  it.  .    .    . 
[89] 


PLAYS     OF     OLD     JAPAN 

Out  of  here  .   .   .  quick,  and  await  my  sen- 
tence. 

TOYO,  lifting  her  arms  imploringly 
I  was  afraid  .  .  .  my  lord.  .  .  . 

[kogamori,  with  a  terrible  look,  shows 
her  the  door,  and  she  runs  out  quickly, 
almost  bent  in  two 

KOGAMORI 

Shijiwa! 

SHiJiwA,  entering  hurriedly 
Your  pleasure,  my  lord.  .  .  . 

KOGAMORI 

I  order  you  to  arrest  Toyo,  the  geisha,  and 
to  cut  oflP  and  bring  me  her  hands. 

^  \^  SHIJIWA 

Tne  hands  of  Toyo  san !  .  .  .  The  most 
beautiful  geisha.  ...    I  beg,  my  lord.  .  •  . 

KOGAMORI 

You  talk  too  much,  Shijiwa.  ...  I  have 
told  you  already.  I  repeat  ...  I  want  the 
hands  of  Toyo  san.  ...  I  noticed  how 
wonderfully  pretty  they  are,  and  I  want  to 
preserve  them  as  a  souvenir  of  the  treatment 
she  gave  me. 

SHIJIWA 

And  .  .  .  after  her  hands  are  severed  .  .  . 
what  shall  we  do  to  the  girl? 
[90] 


THE    HANDS    IN    THE    BOX 
KOGAMORI 

Let  her  blood  run  out  till  she  dies. 

SHIJIWA 

Your  will  shall  be  done. 

KOGAMORI 

When  you  go  out  you  may  send  the  other 
geishas  in.  .  .  .  They  are  good  dancers,  and 
I  want  to  find  out  whether  it  is  Orino  or 
Michi  I  like  the  best. 

[sHiJiwA  goes  out  and  kogamori 

lights  a  pipe.     The  geishas  come  in 

one  after  another. 

I  have  recalled  you  so  that  you  dance  the 

dance  of  the  fans  for  me  again.  .  .  .    And  I 

want  Michi  to  pour  out  some  wine. 

[michi  comes  near  and  pours  some 
wine  into  his  cup.  The  other  eight 
girls  repeat  the  fan  dance,  kogamori 
while  flirting  with  michi  soon  over- 
drinks and  follows  the  dance,  with  to 
and  fro  movements  of  his  body.  Pres- 
ently  shiji wa  enters  carrying  a  round 
hooo  about  one  foot  high,  with  a  cover 
on  it.  He  places  it  in  front  of  koga- 
mori, who  removes  the  cover  and 
looks  inside  with  an  evil  smile.    After 

[91] 


PLAYS     OF     OLD     JAPAN 

a  while  kogamori^  forgetting  the  hoXy 
closes  his  eyes  under  the  influence  of 
the  wine,  michi  steals  a  glance  into 
the  box  and  is  terror-struck.  She 
suddenly  gets  up,  joins  the  dancers, 
and  spreads  among  them  the  horrible 
news  of  what  she  saw  in  the  box.  The 
dance  stops  and  all  the  girls  run  away 
in  panic. 

kogamori,  opening  his  eyes 
What  has  happened? 

SHIJIWA 

They  have  seen  the  contents  of  the  box  and 
it  frightened  them  away. 

KOGAMORI 

Weak-hearted  women  ...  let  them  run 
away.  ...  I  am  tired  .  .  .  leave  me  alone 
.  .  .  my  head  is  heavy  .  .  .  put  out  these 
strong  lights ;  they  burn  my  face. 

SHIJIWA 

At  this  time  of  the  night,  you  will  rest  bet- 
ter in  your  private  apartment. 

KOGAMORI 

I  shall  go  very  soon  .  .  .  but  ...  I  wish 
to  rest  here  alone  a  moment  .  .  .  you  can 
retire. 

[92] 


THE    HANDS    IN    THE    BOX 
SHIJIWA 

Good-night,  my  lord. 

[He  blows  out  the  lights  in  the  paper 
lanterns  with  the  exception  of  one  at 
each  side  of  the  back  door,  and  goes 
out  closing  the  partition  behind  him. 
The  room  is  now  in  semi-obscurity. 
KOGAMom  gets  up  heavily  and  goes  to 
the  back  door,  which  he  slides  open, 
disclosing  a  garden  lighted  by  moon- 
light. He  then  blows  out  the  two 
lamps,  and  comes  back  to  his  seat. 

KOGAMORi,  looking  inside  the  box 
Lovely  hands  .  .  .  you  are  whiter  than  the 
moon  since  the  blood  has  left  your  veins. 
Indeed  your  caresses  would  smell  of  death, 
but  you  could  not  refuse  to  be  good,  ...  It 
seems  that  since  you  are  lifeless  I  have  gained 
some  pleasure  by  feeling  your  icy  touch. 
{He  takes  the  hands  out  and  holds  them  be- 
tween his  palms  so  that  the  elbows  seem  to 
repose  at  the  bottom  of  the  box.)  It  was  a 
pity  to  remove  you  from  such  a  beautiful 
body,  but  you  tried  to  be  cruel  to  your  mas- 
ter. True,  you  are  things  of  the  past,  yet  I 
love  to  feel  your  velvet  on  my  face.  ...  I 
feel  ...  it  seems  you  are  still  alive. 

[The  moon  shines  full  upon  the  box 
and  in  his  delirium  he  places  his  head 
[93] 


PLAYS     OF     OLD     J  A  P  A  N^ 

between  the  handsy  allowing  them  to 
caress  his  face,  but  suddenly  the  hands 
close  around  his  throat  as  they  just 
reach  it,  and  they  hold  him  in  a  grip 
of  steel. 

What  is  that!  .  .  .  Help!  .  .  .  letgo  .  .  . 

ah  .  .  .  ah.  .  .  . 

[The  hands  are  choking  him  slowly. 

Toyo  san  .  .  .  it's  you  .  .  .  ah  .  .  ,  ah.  ,  .  . 
He  tries  in  vain  to  release  the  hold. 
Presently y  through  a  strange  light  be- 
hind the  left  panel  of  the  room,  toyo^ 
dressed  all  in  white,  appears,  her  hose 
hair  hanging  behind,  her  amputated 
arms  all  bloody.  She  is  very  pale  and 
gazes  at  kogamori  with  a  face  full  of 
anguish.  Slowly  the  vision  disap- 
pears, and  with  a  look  of  horror  and 
a  last  groan  the  man  rolls  on  the  floor 
strangled  to  death.  In  the  garden  a 
nightingale  singsjiis  midnight  song. 

CURTAIN 


[94] 


FORSAKEN  LOVE 

A  POETICAL,   COMEDY 

Adapted  from  "Lay  Priest  Tagikuehi," 
a  five-act  comedy  drama  by  Anizaki  from  the 
novel  of  R.  Takayama. 


^^,^^,^^^^     .  His  Sons 

TOMOMORI 


CHARACTERS 

TOKiYORi,   Samurai^  afterwards  lay  priest 

Tagikuchi 
KiYOMORi,  Prime  Minister 

MUNEMORI,    ) 

.    3 

MOCHiYom,  Father  of  ToJdyori 
SHiKEGAKE,  )  Officers  in  the  Army;  Noble- 
suKEMORi,    3      men  under  Kiyomori 
YOKOBUE,  A  young  girl  servant  at  Kiyo- 

moris  palace 
KOBAi,  An  old  woman  servant 
UTAKiCHi,  Head  female  servant 

FIRST  SERVANT 
SECOND  SERVANT 
THIRD  SERVANT 
AN  OLD  WOMAN 
JIRO,         ] 

TARO,        Schoolboys 

SABURO,  J 

THE  FIRST  CONCUBINE  OF  KIYOMORI 

CONCUBINES,  SAMURAI,  GUESTS  OF  KIYOMORI 

THREE  MONKEYS 

THE  CHORUS 


FORSAKEN  LOVE 

The  action  takes  place  at  Kyoto  about  1150. 

Scene  I 
The  palace  of  Nishi-Hachijo. 

CHORUS 

rviNG,  bell,  slowly  and  sadly; 

The  flower  of  the  cherry  tree  passes  away, 

All  the  world  is  vanity. 

Thoughts  are  dispersed  like  flowers, 

O  glorious  peace,  O  night  of  dreams. 

See  the  lords  who  come  to  feast 

And  enjoy  the  festival  of  Spring. 

[During  the  song  the  curtain  goes  up 
disclosing  the  garden  of  a  beautiful 
palace  of  red  and  gold.  The  cherry 
trees  are  blossoming.  Hundreds  of 
paper  lanterns  are  hanging  from  the 
branches,  kiyomori  is  seated  in  the 
middle  of  the  stage  with  his  sons, 
MUNEMORi  and  tomomori,  then 
TOKiYORi  and  two  vacant  seats  at  his 
[97] 


PLAYS     OF    OLD     JAPAN 

right.  Several  concubines  are  on  his 
left  seated  in  the  same  order  as  the 
men.  Other  samurai  are  seated  be- 
hind. SHiKEGAi^  and  suKEMORi  are 
dancing  in  front  of  the  assembly. 
They  wear  beautiful  costumes  and 
carry  in  their  hands  branches  of  cherry 
blossoms.  When  they  are  through, 
UTAKiCHi  enters,  followed  by  other 
servants  bringing  on  a  tray  presents 
for  the  dancers. 

UTAKICHI 

These  presents  are  offered  you  by  our  lord 
Kiyomori. 

IThe  two  samurai  receive  the  presents 
with  respect  and  go  to  the  two  vacant 
seats. 

KIYOMORI 

Your  dances  are  as  pleasing  to  the  eye  as 
beautiful  flowers  are  to  our  sense  of  smell. 
All  the  good  of  the  world  is  here.  I  am  sorry 
that  my  eldest  son  Shigemori  is  not  present 
to  enjoy  this  life. 

MUNEMORI 

My  brother  prays  to  the  Buddha.   I  would 
rather  sit  looking  at  the  cherry  trees  and  en- 
joy dancing  and  drinking. 
[98] 


FOES A KEN     LOVE 
TOMOMORI 

Father,  tell  our  brother  to  pay  more  atten- 
tion to  the  covmtry's  welfare  than  to  the  wor- 
ship of  Buddha. 

KIYOMORI 

Yes,  indeed,  I  will  tell  him.  Life  ought  to 
be  spent  in  glory,  but  your  brother  thinks 
only  of  religion.  O,  life  is  like  the  cherry 
blossoms. 

[The  hreeze  blows  a  few  petals  from 
the  cherry  trees  and  they  fall  slowly 
to  the  ground,  kiyomori  sits  in  sad 
thought. 

MUNEMORI 

Father,  do  not  be  sad  tonight. 

KIYOMORI 

Yes,  let  us  forget  our  sorrows.  Fill  up 
our  cups  and  let  us  drink  to  a  pleasant  future. 
I  All  the  samurai  lift  their  cups  which 
the  servants  have  previously  filled 
with  sake.  Then  all  bend  respectfully 
toward  the  prime  minister, 

ALL 

To  your  glory!  .  .  . 

KIYOMORI 

The  feast  will  be  incomplete  without  a 
geisha  dance. 

[99] 


PLAYS     OF     OLD     JAPAN 
THE   FIRST   CONCUBINE 

I  should  like  you  to  see  a  young  girl  ser- 
vant of  the  Palace.  She  is  not  a  geisha,  but 
she  dances  better  than  the  best  of  them  all. 
She  is  a  marvel. 

KIYOMORI 

I  am  anxious  to  see  her. 

THE   FIRST    CONCUBINE 

Utakichi!  {The  head  servant  comes  for- 
ward. )    Is  the  girl  ready  ? 

UTAKICHI 


Yes. 


{^She  goes  to  the  left  of  the  stage, 
where  all  the  servants  are  kneeling, 
takes  by  the  hand  a  young  girl  of  un- 
usual beauty,  and  leads  her  to  the 
centre  of  the  stage.  Music  begins  and 
YOKOBUE  dances.  The  samurai  speak 
to  each  other  in  admiration  of  the 
dancing,  and  tokiyori,  almost  stand- 
ing  up,  looks  at  her  with  ecstasy. 
[The  stage  revolves. 


[100] 


FORSAKEN     LOVE 


Scene  II 

The  scene  represents  the  gate  of  the  Palace 
of  Nishi-Hachijo.  samurai,  followed  by 
servants^  go  out  of  the  Palace  after  the  fes- 
tival. They  are  talking  to  each  other  about 
the   splendid   reception   they   were   given. 

KOBAi,  coming  out  and  walking  to  the 
front  of  the  stage 
What  a  wonderful  festival!    It's  a  pity  I 
am  an  old  woman ;  I  cannot  enjoy  it  all ! 

TOKiYORi,  coming  out  of  the  gate,  see- 
ing  the  woman 
Kdbaisan!  .  .  . 

KOBAI 

What  can  I  do  for  you? 

TOKIYORI 

Can  you  tell  me  the  name  of  the  young 
woman  who  danced  so  wonderfully  tonight? 

KOBAI 

Yes,  she  is  Yokobue  san.      She  came  to 
serve  in  the  Palace  only  a  few  days  ago. 
[  101  ] 


PLAYS     OF     OLD     JAPAN 

But  why  do  you  want  to  know  her  name  ?  .  .  . 
Many  men  asked  me  the  same  question,  .  •  . 

TOKIYORI 

She  is  such  a  beautiful  dancer! 

KOBAi,  laughing  maliciously 

Ah !   Ah !    She  is  a  beautiful  dancer !    Ah ! 
Ah! 

[^She  enters  the  Palace,  and  tokiyori 
left  alone  looks  at  the  ground  with  a 
sigh. 

CURTAIN 


[[1021 


FORSAKEN     LOVE 


Scene  III 

TOKiYORi's  room.  Very  simple  decoration. 
A  box  with  armor  on  top.  A  rack  with 
several  swords  at  right.  A  rack  with  bow 
and  arrows  at  left,  tokiyori  is  sitting  at  a 
small  desk.  An  ancient  lamp  lights  him 
while  he  reads  a  manuscript.  He  puts  the 
manuscript  down  very  often  to  let  his  mind 
wander.  When  the  curtain  goes  up  the 
chorus  sings  and  the  cicada  is  heard  outside. 

CHORUS 

Even  the  voice  of  the  cicada 
Has  not  awakened  my  sleeping  heart. 
Love  has  deceived  it  and  it  feels  distressed. 
Last  sj)ring  I  fell  in  love  with  Yokobue, 
She  has  changed  the  course  of  my  life. 
Nothing  can  cure  me  of  such  a  folly. 
Autumn  breezes  are  singing  outside, 
Balancing  the  leaves  of  the  maple  tree, 
The  leaves  going  to  death  like  my  heart. 

TOKIYORI 

Such  is  love.    To  be  a  slave  to  love  is  to  be 
like  a  blind  man  throwing  himself  into  a  well. 
{He  looks  about  the  room  and  takes  up  a 
[103] 


PLAYS     OF     OLD     JAPAN 

large  sword.)  What  need  have  I  of  such  a 
sword?  I  cannot  even  fight  my  bitterest 
enemy,  my  heart.  {Rising,  he  pulls  the  blade 
out  and  looks  at  it  near  the  lamp;  he  then 
flourishes  it  a  couple  of  times.)  Magnificent 
blade !  What  a  joy  to  possess  such  a  tremen- 
dous weapon.  {Looks  at  the  image  of  his 
face  in  the  blade.)  How  thin  my  face  has 
become!    Ah,  the  work  of  love! 

[He  replaces  the  sword  on  the  rack 
and  lowers  his  head  sadly.  The  voice 
of  the  cicada  is  distinctly  heard. 

MOCHiYORi,  sliding  open  the  back  door 
from  outside,  looks  in  at  his  son 
Tokiyori! 

TOKIYORI 

Are  you  not  sleeping  yet? 

MOCHIYORI 

And  you?  I  see  in  your  face  that  you 
have  been  dreaming.  {He  sits  down  on  a 
seat  slightly  higher  than  tokiyori.  )  During 
autumn  nights  it  is  better  to  sleep  early. 
Are  you  well? 

tokiyori 
You  are  very  kind  to  me,  thank  you.    My 
head  is  not  strong,  but  perhaps  autumn  will 
cure  it.  .  •  ., 

[  104  ] 


FORSAKEN     LOVE 
MOCHIYORI 

You  must  be  brave,  brave  with  a  strong 
heart.  I  desire  you  to  obey  me  loyally,  with- 
out fear. 

TOKIYOEI 

I  shall  never  thank  you  enough  for  the 
good  principles  you  have  taught  me.  Now  I 
find  the  occasion  to  ask  you  something.  Will 
you  listen  to  me? 

MOCHIYORI 

What  have  you  to  say? 

TOKIYORI 

I  have  hesitated  a  long  time  before  talking 
to  you  about  it,  but  now  the  time  has  come. 
I  should  like  to  marry  a  young  girl  whom  I 
think  is  worthy  of  my  name.  Will  you  allow 
me  to  take  her  as  my  wife? 

MOCHIYORI 

Who  is  she? 

TOKIYORI 

One  of  the  servants  of  the  prime  minister. 

MOCHIYORI 

Is  she  one  of  our  relations?  .  . 
[105] 


PLAYS     OF     OLD     JAPAN 
TOKIYORI 

Not  at  all,  for  she  is  only  a  farmer's 
daughter. 

MOCHIYOm 

Are  you  mad? 

TOKIYORI 

No,  indeed.  To  be  the  husband  of  this 
girl  is  the  serious  desire  of  my  life.  You 
taught  me  never  to  tell  a  lie. 

MOCHIYORI 

Indeed,  this  is  the  serious  d  're  of  your 
life!  Do  you  know  that  marriage  itself  is 
the  most  serious  thing  in  life?  I  have  always 
hoped  that  you  would  marry  a  nobleman's 
daughter,  to  bring  you  rank  and  fortune. 
True,  I  have  heard  that  you  were  in  love 
with  a  certain  Yokobue,  but  I  did  not  pay 
attention  to  the  rumor,  for  being  in  love  with 
a  servant  girl  at  the  Palace  is  the  same  as 
loving  a  courtesan,  and  it  seemed  ridiculous 
to  me.  Now  you  ask  me  to  let  you  marry 
her.     How  dare  you? 

TOKIYORI 

I  have  never  given  any  thought  to  courte- 
sans or  drinking.     What  I  ask  you  comes 
from  a  pure  and  simple  heart.  .  .  . 
[106] 


FORSAKEN     LOVE 
MOCHIYOm 

My  son,  you  deceive  me  very  much.  I  can 
see  now  that  during  these  last  months,  you 
have  been  thinking  of  nothing  but  love.  Now 
I  want  to  open  your  eyes.  Shikegake,  whom 
you  know  well,  has  had  several  mistresses; 
and  the  one  who  now  receives  his  attention  is 
no  other  than  Yokobue.  Hey!  What  do 
you  say  to  that !  Shikegake  has  already  told 
me  you  were  foolish  to  think  about  her.  I 
cannot  conceive  why  your  mind  wanders 
toward  this  girl  for  a  minute.  I  am  dis- 
pleased with  you.  Remember  that  all  our 
family  is  famous  for  celebrated  feats  of  arms 
and  that  Naoyori,  once  prime  minister,  is 
among  our  ancestors.  There  is  no  story  like 
yours  in  our  annals.  You  do  not  look  ashamed 
at  all !  As  long  as  I  live  you  shall  not  marry 
this  peasant's  daughter.  {He  looks  at  toki- 
YORi  with  terrible  eyes.)  Well,  Tokiyori, 
many  men  make  mistakes  during  their  youth. 
You  must  know  that  the  strongest  love  never 
lasts  ten  years.  For  my  sake  give  all  your 
attention  to  your  samurai  duties;  it  will  be 
more  honorable,  and  you  will  wake  up  out  of 
this  dream.  Change  your  spirit  and  you  will 
become  again  the  Tokiyori  of  my  heart. 

TOKiYORi^  wJio  has  been  thinking  deeply 
with  inclined  head,  looking  up  at  his 
father.         [  107  1 


PLAYS     OF     OLD     JAPAN 

Father,  I  was  prepared  for  your  answer 
long  ago,  and  as  a  good  son  I  shall  do  accord- 
ing to  your  desire  and  forget  Yokobue.  But 
now  I  want  to  ask  you  a  favor  that  you  will 
not  refuse.  ...    I  hope.  .  .  . 

MOCHIYOKI 

You  are  a  free  samurai.  What  is  your 
desire? 

TOKIYORI 

Allow  me  to  leave  you  for  a  long  time. 

MOCHIYORI 

Why? 

TOKIYORI 

It  will  surprise  you,  but  my  desire  is  not 
a  mere  fancy.  I  have  made  up  my  mind 
about  it.  There  is  no  need  for  you  to  know 
the  reason  since  I  am  a  sane  man.  I  have 
discovered  that  a  man's  life  is  as  simple  as  his 
fortune  and  is  not  worth  living.  I  have  re- 
solved to  give  up  ephemeral  glory  in  order  to 
put  all  my  hope  in  Buddha.  I  shall  never 
forget  your  kindness,  but  the  future  life  is 
more  important.  Please  let  me  go  and  I  shall 
bless  you  forever. 

MOCHIYORI,  with  tears  in  his  voice 
Those  are  your  words!      You  lost  your 
mother  when  very  young,  and  I  have  always 

[  108  ] 


FORSAKEN     LOVE 

taken  care  of  you.  You  have  been  well  edu- 
cated. I  took  pride  in  seeing  you  full  of 
health  and  courage.  You  are  not  my  son 
since  you  do  not  answer  to  the  deep  desire 
that  I  had  to  see  you  loyal  and  obedient. 
The  prime  minister  has  already  showed  us 
many  favors  and  was  again  well  disposed  to 
you.  What  will  he  say  when  he  hears  that 
you  have  become  a  beggar  of  a  priest?  Your 
wish  is  that  of  a  coward.  Admit  that  you 
have  had  a  moment  of  folly.  If  not,  beg  par- 
don at  once  for  your  foolish  words.  .  .  . 
{He  looks  at  his  son  with  terrible  eyes,  but 
TOKiYORi  remains  silent.)  Tokiyori,  why  do 
you  not  answer? 

TOKIYORI 

My  heart  bleeds  when  I  think  of  the 
pain  I  am  causing  you.  Although  I  wish  to 
be  loyal  to  the  prime  minister  and  yourself, 
there  is  something  stronger  that  calls  for  my 
services  elsewhere. 

MOCHIYORI 

What  are  you  talking  about?  Is  there  a 
stronger  duty  than  serving  your  country  and 
father?  Your  mind  is  failing  and  you  are  no 
longer  a  samurai. 

[109] 


PLAYS     OP     OLD     JAPAN 
TOKIYORI 

The  honor  of  a  samurai  always  remains, 
but  the  affairs  of  the  other  world  are  more 
important.  Shigemori,  first  son  of  the  prime 
minister,  is  himself  a  priest ! 

MOCHIYORI 

Nothing,  do  you  hear,  nothing  is  more  im- 
portant than  the  service  of  His  Majesty. 
You  must  not  compare  yourself  to  Shige- 
mori.  You  are  losing  your  senses.  Even 
dogs  do  not  forget  the  favors  of  their  master, 
therefore  you  are  worse  than  a  dog.  I  am 
not  your  father  any  more  and  I  forbid  you 
or  your  spirit  to  join  our  kinsfolk  until  your 
seventh  life. 

[mochiyori  works  himself  into  a  rage 
while  looking  at  his  son  until,  unable 
to  control  himself,  he  leaves  the  room. 
TOKIYORI  does  not  stop  him,  hut  looks 
painfully  at  the  door  through  which 
he  went  out. 

TOKIYORI,  with  a  deep  sigh 

O!  Father,  pardon  my  disobedience. 

[The  stage  revolves. 


[110] 


FORSAKEN     LOVE 


Scene   IV 

The  room  of  yokobue  in  the  Palace  of  Nishi- 
Hachijo.  A  shamisen  is  hanging  on  the  wall. 
Books  and  rolls  of  manuscripts  on  shelves. 
On  the  floor y  a  hooo  with  books  inside.  A 
little  desk  lighted  by  a  candle,  yokobue  is 
sitting  at  right.  Three  servant  girls  at  left. 
The  servants  whisper  to  each  other. 

FIRST   servant 

Yokobue  is  very  unconcerned  although  she 
knows  that  a  samurai  is  now  wearing  the 
Buddhist  robe  on  her  account. 

SECOND  servant 

No,  she  has  a  pretty  face  but  she  uses  it  to 
catch  the  men,  not  to  cry  for  them. 

THIRD  SERVANT 

Don't  be  so  cruel.  Yokobue  does  not  be- 
lieve us  yet.  ( To  Yokobue. )  What  we  told 
you  is  not  a  lie.  Tokiyori  has  laid  down  the 
samurai's  armor  to  worship  Buddha. 

YOKOBUE 

It  is  not  possible.  I  cannot  believe  such  a 
story. 

[  111  ] 


PLAYS     OF    OLD     JAPAN 
SECOND  SERVANT 

Then,  you  do  not  believe  that  a  man  can 
forsake  the  world  if  the  most  beautiful  girl 
refuses  him? 

YOKOBUE 

No,  I  do  not  believe  it. 

THIRD  SERVANT 

It  is  absolutely  true.  He  lives  now  all 
alone  at  the  temple  of  Saga. 

FIRST   SERVANT 

Tokiyori  was  refused  by  Yokobue  san. 

THIRD  SERVANT 

He  became  a  priest  at  Saga. 

FIRST   SERVANT 

The  lamentations  of  his  father  are  heart- 
breaking. 

SECOND  SERVANT 

At  least  there  is  less  competition  for  your 
admirers.  I  know  one  for  whom  you  will  be 
kinder. 

THIRD  SERVANT 

We  tell  you  the  truth.  If  you  are  sad  on 
his  account  say  some  prayers  to  the  Buddha; 
it  will  surely  comfort  him.  It  is  getting  late, 
we  must  retire. 

[112] 


FORSAKEN     LOVE 
FIRST  SERVANT 

Yokobue  san,  if  you  dream  tonight,  do  not 
forget  to  tell  us  about  it  tomorrow. 

SECOND  SERVANT 

We  have  no  love  troubles  and  so  we  shall 
sleep  soundly. 

THE  THREE  SERVANTS 

Good  night ! 

[They  go  out.  yokobue,  who  all  the 
time  has  assumed  a  haughty  and  un- 
concerned air,  falls  down  head  first  to 
the  floor  and  cries  bitterly. 

yokobue 
Forgive  me,  Tokiyori!  {She  puts  her 
handkerchief  between  her  teeth  to  stop  her 
sobbing.)  I  well  understood  your  love  for 
me,  and  I  read  all  your  letters  but  never 
dared  answer  you.  I  was  afraid  to  lose  the 
friendship  of  the  other  samurai.  Why  did 
you  leave  the  world  so  soon?  {She  pauses 
for  a  moment  in  thought.)  I  did  not  know 
you  loved  me  so  much.  {She  weeps  again 
and  takes  some  letters  from  a  desk.  Open- 
ing a  folded  paper  she  holds  it  near  the  can- 
dle and  reads.)  "What  do  you  think  of  me 
writing  you  such  witless  words,  but  since  I 
saw  your  loveliness  my  heart  is  broken  and  I 
can  think  of  nothing  but  you.  Although  my 
[113] 


PLAYS     OF     OLD     JAPAN 

writings  are  not  worth  your  eyes  I  hope  you 
will  understand.  ..."  {She  folds  the 
paper.)  It  is  my  fault  I  did  not  understand 
you  till  this  day.  {She  opens  another  letter 
and  reads.)  ''1  have  understood  that  you  do 
not  love  me,  and  I  am  afraid  to  displease  you 
by  writing  again.  There  is  only  one  medi- 
cine for  me,  to  forsake  love  and  become  a 
priest.  .  .  .  {She  sighs.)  ...  If,  however, 
you  read  over  the  hundred  letters  I  have 
written  you  since  spring,  you  v/ill  feel  my 
heart  beating.  For  I  have  put  it,  whole,  into 
each  one  of  them.  I  have  nothing  else  to 
write.  Perhaps  my  hand  has  been  unable  to 
guide  my  words  to  your  heart.  Oh,  if  you 
only  knew  my  heart.  Will  you  never  answer 
me?"  {She  weeps  again^  then  taking  a  hook 
out  of  the  hooo  she  reads  a  short  poem.) 
"  I  shall  cry  for  Love, 

Who  felt  the  sadness  of  the  autumnal 
breeze.  .  .  . 

All  insects  die  during  the  sorrowful  night." 

KOBAi^  opening  the  door  and  looking 
at  YOKOBUE  maliciously 
Are  you  not  sleeping  yet? 

YOKOBUE,  composing  herself  and  put- 
ting the  letter  in  the  desk  quicMy 
Kobai  san !    What  do  you  want  at  such  an 
hour  of  the  night? 

[  114  ] 


FORSAKEN     LOVE 

KOBAi,  sitting  beside  yokobue 
You  have  no  pity  for  men.      There  is  a 
samurai  outside  who  is  dying  of  love  for  you. 
Do  you  want  to  send  him  away  as  usual? 
What  shall  I  tell  him? 

YOKOBUE 

My  answer  is  the  same  as  before  and  shall 
always  be  so. 

KOBAI 

You  are  very  cruel  to  Shikegake,  who  is 
losing  his  head  over  you.  He  has  come  in  the 
cold  to  hear  his  fate  from  your  lips.  At  such 
an  hour  of  the  night !  He  is  doing  that  for 
you.  Now,  all  the  samurai  want  to  marry 
you.  I  suppose,  if  you  refuse  Shikegake  and 
he  commits  suicide  you  will  be  glad. 

YOKOBUE 

I  don't  care. 

KOBAI 

Do  not  say  that.  Of  course  you  don't  want 
to  marry  him,  but  give  him  some  hope  in 
order  to  retain  his  protection.  You  are 
pretty  now,  but  beauty  does  not  last  long, 
and  those  who  are  too  hard  are  finally  left 
alone.  Do  you  think  Shikegake  is  not  rich 
enough,  or  are  you  thinking  of  Tokiyori?  If 
that  is  so,'  you  may  rest  easy,  for  he  is  now 

[  115  ] 


PLAYS     OP     OLD     JAPAN 

a  lay  priest.  You  should  be  kind  to  Shike- 
gake,  who  is  going  to  obtain  a  high  position. 
Do  not  deceive  him  this  time.  You  know 
that  I  speak  in  your  interest,  (yokobue 
does  not  answer,  kobai  pulls  her  by  the 
sleeve.)    Don't  you  imderstand.  .  .  . 

yokobue 
I  beg  your  pardon,  Kobai  san.  I  am  not 
a  common  woman,  and  I  will  not  give  myself 
to  a  man  recklessly.  I  do  not  want  to  be 
kind  to  anyone  at  this  hour  of  the  night,  and 
your  criticisms  are  very  unpleasant  to  me. 
(She  turns  her  back  to  kobai,  who  looks 
shocked  at  first,  and  then  goes  angrily  out.) 
Fools !  I  do  not  want  to  hear  words  that  take 
my  mind  away  from  the  thought  of  Toki- 
yori.  I  will  never  marry  Shikegake.  I  am 
now  sure  that  Tokiyori  has  a  good  and  loyal 
heart.  He  loved  me  more  than  other  men 
since  he  has  forsaken  the  world  thinking  I 
did  not  love  him.  {She  sighs.)  I  am  the 
cause  of  all  this  trouble  because  I  did  not 
answer  his  letters.  I  must  go  and  beg  his 
pardon.  I  shall  explain  everything  to  him 
and  tell  him  the  deep  love  I  have  in  my  heart 
for  him.  If  he  does  not  understand  me  I 
shall  become  a  mm.  (She  rises  with  deter- 
mination.) I  have  decided  to  go  tomorrow, 
but  I  will  play  on  the  shamisen  once  more. 

1 116  ] 


FORSAKEN     LOVE 

{She  takes  her  shamisen  and  plays  a  sad 
tune.)  Oh!  I  shall  say  good-by  to  every- 
thing tomorrow  morning.  {Drawing  a  little 
dagger  from  her  belt  she  cuts  the  strings  of 
the  shamisen.)  I  have  now  severed  my  last 
connection  with  this  world. 

CURTAIN 


[  117  1 


PLAYS    OF    OLD    JAPAN 


Scene  V 

The  temple  Ojo  in  the  fields  of  Saga.  On 
the  left  side  of  the  stage  one  of  the  rooms  of 
the  temple  is  exposed  to  view.  The  roof  is 
partly  broken^  as  is  a  portico  and  verandah 
in  front.  From  the  room  a  door  leads  to  the 
altar  and  through  the  paper  door  slightly 
opened  the  lay  priest  tagikuchi  ^  (toki- 
YORi)  is  seen  reading  a  hook.  Another  door 
leads  into  a  small  garden  with  a  fountain,  en- 
closed by  a  gate.  On  the  half  broken  stone 
there  is  a  sign  reading,  ''Ojo  Temple.'' 

As  the  curtain  goes  up  jiro,  taro  and  saburo 
are  playing  with  idols  of  clay,  taro  breaks 
jiRo's  plaything. 

JIRO 

Taro  broke  the  idol  that  I  so  carefully 
made.  I  promised  grandmother  to  bring  her 
an  idol  made  of  Ojo  Temple  clay,  and  noy/ 
it's  broken.    Give  me  another  one  at  once. 

IHe  cries. 

TARO 

I  am  glad  I  broke  it.  The  other  day  your 
grandmother  ogled  me  like  an  owl  and  said, 
''Bad  boy.''     I  am  avenged. 

lA  man  changes  his  name  when  he  becomes  a  Buddhist 
priest. 

[118] 


FORSAKEN     LOVE 
JIRO 

My  grandmother  was  right.  You  avenge 
yourself  on  Buddha's  image.  Even  a  China- 
man wouldn't  do  it.     Give  me  another  one. 

SABURO 

Taro,  you  are  wrong  always  to  tease  boys 
smaller  than  yourself. 

TARO 

Jiro  always  cries  and  tells  his  grandmother. 
IHe  beats  jiro,  who  yells,  saburo 
tries  to  quiet  them. 

THE   LAY    PRIEST,    appearing   on    the 

verandah 
Why  do  you  make  so  much  noise?  Can 
you  not  play  without  quarrelling?  Taro, 
you  are  big  and  should  protect  the  small 
boys.  Jiro,  you  should  not  cry  all  the  time. 
If  you  have  broken  your  idol,  make  another 
one.  Artificial  things  do  not  always  last  and 
can  be  easily  replaced.  The  night  is  coming. 
Go  to  your  parents.  Come  back  tomorrow. 
Chestnuts  are  growing  ripe.  I  shall  pick 
some  for  you. 

[The  children  group  themselves  near 

the  LAY  PRIEST. 

SABURO 

You  are  very  good  to  give  us  chestnuts. 
We  will  not  fight  any  more,  but  go  home 
[119] 


]?LAYS     or     OLD     JAPAN 

quietly.    Will  you  give  more  chestnuts  to  the 
best  one  of  us? 

THE  LAY  PRIEST 

Yes!  Yes!  You  are  a  clever  little  man. 
Go  home  now  and  be  good.  Dinner  is  ready 
and  your  families  are  waiting. 

THE  BOYS,  as  they  go  out 
Good-night,  imcle! 

THE  LAY  PRIEST 

Sweet  little  hearts  I  How  well  they  listen 
to  good  advice.  I  wish  all  men  were  like 
these  children.  Now  I  must  begin  my  night 
prayers. 

{Goes  to  the  garden  to  wash  his  hands 
at  the  fountain.  At  the  same  time  an 
old  woman  with  a  basket  full  of  ap- 
ples comes  from  the  right. 

THE  OLD  WOMAN 

Qroodi  evening,  good  priest,  have  you  seen 
my  grandson? 

THE  LAY  PRIEST 

Oh,  good  evening!  You  are  Jiro's  grand- 
mother. Your  grandson  has  just  left  with 
two  little  friends. 

[120] 


FORSAKEN     LOVE 
THE  OLD  WOMAN 

Is  that  possible!  How  strange  I  did  not 
meet  them.  Well,  I  was  coming  here  to  offer 
these  apples  to  the  Buddha.  Please  take 
them. 

THE  LAY  PRIEST 

Thank  you  very  much.  I  will  offer  them 
tonight,  and  tomorrow  I  will  offer  chestnuts. 

THE  OLD  WOMAN 

It  is  getting  dark.  I  must  go  away.  Do 
not  forget  me  in  your  prayers. 

THE  LAY  PRIEST 

The  last  days  of  autumn  are  short.  You 
must  be  careful  on  your  way  home.  {He 
comes  out  of  the  garden  and  accompanies  the 
old  woman.)  Good-by.  Sleep  well  tonight 
and  think  of  Buddha's  paradise. 

THE  OLD  WOMAN 

Thank  you  for  your  kindness  to  my  grand- 
son and  myself.  [Eocit. 
[Night  is  falling.  The  stars  and  moon 
come  out. 

THE  LAY  PRIEST,  Walking  into  the  garden 

and  closing  the  gate 

He  who  loved  a  young  girl  of  the  city  now 

receives  the  attentions  of  an  old  country 

woman.    How  life  changes  in  a  short  time! 

[121] 


PLAYS    OF    OLD    JAPAN 

The  gaieties  of  spring  drift  into  autumn  sor- 
rows. {He  goes  to  the  altar  and  lights  sev- 
eral candles.  Kneeling  down  he  begins  wor- 
shipping  Buddha  aloud.  Two  large  monkeys 
and  a  small  one  come  out  of  the  woods  and 
run  around  playfully.  They  jump  on  the 
verandah  and  seem  to  listen  to  the  prayer. 
It  is  now  very  dark.  The  lay  priest,  carry- 
ing a  candle,  comes  to  the  verandah  and  ad- 
dresses the  monkeys.)  Oh,  monkeys.  So 
you  have  come  again  to  pay  me  a  visit.  Do 
you  understand  my  prayers  to  Buddha,  or 
are  you  only  coming  to  get  some  fruit  ?  Here, 
Jiro's  grandmother  gave  me  these  apples, 
take  some  of  them.  (He  hands  them  several 
apples  which  they  quickly  grab  and  run  away 
with  joyful  capers.)  When  I  was  in  the 
world,  all  men  bored  me,  but  now  even  the 
society  of  animals  is  a  balm  to  my  heart. 
What  has  become  of  my  kinsfolk  and  the 
party  of  Tokiyori?  Perhaps  I  should  have 
stood  by  them  to  fight  for  the  clan.  But, 
then,  I  would  have  remained  a  man ;  a  man 
strong  in  the  body  but  weak  in  heart.  Suf- 
fering for  a  heartless  woman.  Now  all  is 
peace.  (The  sound  of  insects  is  heard  dis- 
tinctly.) I  can  look  for  hours  at  the  sky  and 
try  to  find  the  meaning  of  all  those  twinkling 
eyes  that  look  down  from  above.  I  have 
[  122  ] 


FORSAKEN     LOVE 

never  loved  the  beauty  of  night  more  than 
now  as  the  moon  comes  out  of  the  clouds. 
I  must  take  care  that  the  clouds  of  passion 
do  not  trouble  my  soul.  (The  moon  rises 
slowly  and  illumines  the  rice  fields.) 

Oh,  the  moon  is  rising  very  fast  in  the  sky! 
It  must  be  late.  I  will  read  a  little  and  say 
my  prayers  again  before  retiring. 

{He  gazes  at  the  moon  for  a  moment 
while  the  sounds  of  the  insects  grow  in 
intensity,  then  he  closes  the  paper 
doors  in  front  of  the  room,  and  only 
the  light  of  the  candles  can  he  seen 
through  them  by  the  audience. 

CHORUS 

There  are  many  ways  of  love, 
The  love  of  Buddha  is  perhaps  best. 
Yokobue  has  left  the  Palace 
To  come  and  explain  her  conduct. 
She  has  forsaken  a  life  of  luxury 
And  walked  many,  many  days 
To  see  the  man  she  did  not  understand. 
[yokobue  enters  dressed  in  a  nun's 
garment  of  brocaded  silk  with  white 
veil  and  black  pantaloons. 

yokobue 
I  have  been  told  that  the  Ojo  Temple  is 
not  far  away.    An  old  man  told  me  to  walk 
[  123  ] 


PLAYS     or     OLD     JAPAN 

toward  the  Saga  fields  and  the  light  of  this 
house  brought  me  here. 

CHORUS 

A  light  shining  across  the  deep  grass. 
It  is  the  retreat  of  a  lost  lover. 
From  afar  I  saw  the  shadow  of  my  darling 
priest. 

[yokobue  walks  to  the  temple  gate 

and  sees  the  sign. 

yokobue 

How  fortunate!     It  is  the  temple  I  am 
looking  for. 

IShe  knocks  at  the  gate,  hut  at  the 
same  moment  a  hell  rings  and  the 
voice  of  the  lay  priest  is  heard  pray- 
ing to  Buddha. 
Is  this  the  Ojo  Temple?     I  have  come  a 
long  way  from  Kyoto  to  see  the  priest  Tagi- 
kuchi.    Please  open  the  gate.     {She  knocks 
again  hut  the  hell  and  voice  do  not  stop.) 
No  answer  even  though  I  knock  hard.    But 
I  am  foolish  to  do  so  at  the  time  of  worship- 
ping.   I  have  been  told  that  a  priest  will  not 
be  disturbed  even  by  the  Emperor.     I  shall 
wait. 

[  124  ] 


CHORUS 

A  serene  heart  will  not  be  disturbed. 

This  is  a  place  of  rest. 

Breezes  play  around  the  leaves ; 

Their  falling  marks  the  time 

Ever  flying,  ever  flying. 

[The  sound  of  the  hell  is  heard y  yoko- 
BXJE  knocks  again  at  the  gate. 

YOKOBUE 

Will  you  kindly  open  the  door,  I  have 
something  to  tell  you. 

THE  LAY  PRIEST,  froTTi  inside 
This  is  the  Ojo  Temple.    You  are  wrong 
to  call  here  at  night. 

YOKOBUE 

No,  I  am  not  wrong.  I  have  come  to  speak 
to  the  priest  Tagikuchi,  formerly  Tokiyori, 
who  is  a  relative  of  Mochiyori  Saito. 

THE  LAY  PRIEST 

Yes,  I  am  Tagikuchi.     Who  are  you? 

YOKOBUE 

I  am  ashamed,  but  I  must  tell  you.  I  am 
Yokobue,  who  served  at  the  Palace  of  the 
Prime  Minister.  I  want  to  say  that  I  did  not 
return  your  kindness  because  I  was  afraid  of 
the  jealousy  of  other  men,  and  I  wanted  to 
[125] 


PLAYS     OF     OLD     JAPAN 

be  friendly  with  all.  I  realized  my  mistake 
only  after  I  heard  you  had  given  up  your 
duties  of  samurai  to  become  a  priest.  I  felt 
sorry  for  you  and  understood  the  cruelty  in 
not  answering  your  letters.  I  could  not  rest 
in  peace  until  I  told  you  everything.  I  hope 
you  will  be  kind  and  not  leave  me  outside  in 
the  night.  Please  open  the  gate,  please, 
please.  .  .  . 

IShe  leans  against  the  gate  and  cries. 

THE  LAY  PRIEST 

I  have  known  a  woman  called  by  your 
name  while  I  was  a  man  of  the  world,  but  she 
would  not  hear  of  me.  Now,  I  have  no  love 
in  my  heart.  I  pray  Buddha  in  the  morning 
and  in  the  evening  to  help  me  to  forget  my 
former  life.  I  may  not  listen  to  a  charming 
voice  again.  My  love  and  hope  belong  to 
Buddha,  and  therefore  my  eyes,  ears  and 
mouth  cannot  be  attracted  by  a  woman  any 
more.  I  am  sorry,  but  you  must  go  back  into 
the  dark  night,  and  walk  away  quickly.  I 
will  not  speak  again.  Yokobue  san,  farewell 
in  this  world,  may  we  meet  again  in  the  other. 

YOKOBUE 

You  are  right;   but  since  I  have  come  to 
tell  you  the  secret  of  my  heart  you  should  not 
be  so  hard  and  cruel.     I  am  ready  to  atone 
[  126  ] 


FORSAKEN     LOVE 

for  my  unkindness  with  my  own  body,  if  it 
please  you  to  use  it.  If  I  go  away  without 
obtaining  your  pardon  I  shall  never  live  in 
peace,  and  I  am  afraid  we  may  not  meet  in 
the  future  life.  Please  open  the  door  so  that 
I  can  see  you.  {As  she  speaks  the  last  words 
the  bell  begins  ringing  again,  clouds  cover 
the  moon  and  the  wind  suddenly  rises. )  Why 
do  you  not  open  the  door?  Will  you  be  dead 
forever  to  me?  A  samurai  must  have  some 
pity.  {The  sounds  of  the  bell  and  wind  in- 
crease.) You  have  forsaken  love,  but  you 
have  lost  your  heart  at  the  same  time.  I  am 
a  wretched  woman.  Even  in  a  nim's  robes 
I  will  never  be  at  peace.  Can  you  not  save 
me?  {The  sound  of  the  bell  is  very  hud. 
YOKOBUE  pulls  her  hair  and  tears  her  clothes 
into  shreds  in  her  despair. )  Merciless  priest, 
merciless  priest,  how  shall  I  ever  forget !  .  •  . 
{She  weeps.)  Oh,  poor  Yokobue,  did  you 
know  love  and  sorrow  are  one  and  the  same 
thing? 

IShe  faints  and  falls  to  the  ground. 
The  sounds  cease  and  the  lighted 
candles  within  the  temple  are  extin- 
guished. 

CURTAIN 


[  127  ] 


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